Falstaff at Covent Garden – a kind of alacrity in sinking


This is how Sir John Falstaff reflects on the ignominy of being dumped in the Thames with filthy washing.

Have I lived to be carried in a basket like a barrow
of butcher’s offal, and to be thrown in the Thames?
Well, if I be served such another trick, I’ll have my
brains ta’en out and buttered, and give them to a
dog for a New Year’s gift.  S’blood, the rogues
slighted me into the river with as little remorse as
they would have drowned a blind bitch’s puppies,
fifteen i’ th’ litter! And you may know by my size
that I have a kind of alacrity in sinking; if the bottom
were as deep as hell, I should drown. I had
been drowned, but that the shore was shelvy and
shallow—a death that I abhor, for the water swells
a man, and what a thing should I have been when
I had been swelled! By the Lord, I should have
been a mountain of mummy.

This may remind you of the philosophical reflection of a sometime Spanish knight after a similar humiliation.  After being trampled on by a herd of bulls, Don Quixote laments:

Here I am with my name in the history books, a famous man of arms, courteous in my conduct, respected by princes, sought after by damsels, and just when I was expecting palms, triumphs, and crowns, I find myself this morning, as a climax to it all, trodden under foot, battered and kicked by a herd of filthy animals.

These are probably the two most famous characters in our literature.  They were created at about the same time.  In saluting what we may call the modern era, or the end of the Middle Ages, they stand for the end of all that moonshine about chivalry.  In the case of The Merry Wives of Windsor, we seethe arrival of the middle class as the centre of attention on our stage, a kind of Elizabethan prelude to Coronation Street, Neighbours, and Friends – although we had to wait centuries before Jennifer Anniston became the most photographed person on the planet, and bowed out in front of 52 million television viewers.

Well, that is one factor behind the snobbery that this play of Shakespeare attracts.  It may be his only play for which he supplied most of the plot, but the lead, Sir John Falstaff, had exploded on the stage in two history plays, before being killed off in another. 

But, as fans of Shakespeare are wont to remind fans of Verdi, the Falstaff of the comedy is much softer than the Falstaff of the history plays.  The brash insolence, fraud, drunkenness, cowardice, and womanizing are constant.  But in the comedy, and the Verdi opera Falstaff, we are spared watching Falstaff the recruiter accepting bribes to allow some poor blighters to be be despatched for cannon fodder.  If he cannot be said to rat on his mates, it’s because he does not have any.  It was this kind of nastiness, which gives a guilty edge to our glee, that led Sir Anthony Quayle call Falstaff ‘frankly vicious.’

The play and the opera are both put on to make us laugh and give us a good time – and reconcile ourselves to our condition.  Well, God only knows how much we need that release and therapy now.  Someone in the trade got up Verdi’s nose by saying he could not write an opera for comedy like Rossini.  Falstaff was Verdi’s answer.

At the beginning of the play, Page is discussing the form of his greyhound, which had just been outrun.  He tells Falstaff they have a hot venison pasty for dinner, and says ‘Come, gentlemen, I hope we shall drink down all unkindness.’  At the end of the play, his wife says ‘let us every one go home, And laugh this sport o’er by a country fire….’  That is precisely the tone of the whole show – and it is precisely the tone of the whole Verdi score.  It may be the most remarkable marriage of script and score that I know.

Still, some snobbery attaches to the play – but not I think to the opera.  W H Auden just refused to lecture on the play.  Well, at least he had the courtesy to refer his audience to the opera.  My own view is that if you are not uplifted by any decent performance of the play, you need help.  As for the opera – Shakespeare is the best playwright that we know, and there are only two challengers to Verdi for that position as composer of opera.  In the result, Falstaff is not just my favourite Verdi opera, but my favourite across the board.  (I may say that I have never taken to the opera Macbeth, and that the play Othello gives me the willies.   Strawberries out of order have the same effect on me as they did on Humphrey Bogart in The Caine Mutiny.)

And for those who have been cruelled by Wagner, Falstaff has one unassailable charm.  It is not too long.  It takes less time than the final act of Wagner’s comedy.

Well, those who turned out to Covent Garden in October, 1999 to see a new production of Falstaff sure got their money’s worth.  The house, especially behind the famous curtain, had just had a major rebuild.  The lead was played by a popular local, Bryn Terfel.  The band was conducted by the urbane and unflappable Bernard Haitink.  The costumes and sets were alarmingly attention-grabbing.  The full crowd was expectant and knowing – and they got all that they wanted.  This is, after all, a show in which the English may claim some rights.  And I was at home, with Opus Arte, red at hand, cheering them all on.

At first, I thought the sets and costumes were overdone, and distracting.   But I acclimatised, especially after hearing the director say later that this is after all an Italian opera, and that the story had Italian roots.  (In the extras, Haitink said this is the one opera of Verdi where not one note, not one, is out of place.  Terfel in interview was entirely at ease and bore a remarkable resemblance to Richard Burton in so many ways.  The commentary on the massive work backstage is riveting.) 

This is an opera where the music is integral to the whole show to an extent rarely seen outside of Mozart and Wagner.  As it goes, it gets ethereal, but we always come back to what it is there for – to give us a great night out and send us home more at peace with our neighbours and the world.  And that’s God’s work.

The highlight of this show was the peak of dramatic irony where Falstaff is telling Ford disguised as Brook how he will get Ford’s wife into bed.  The incoming bourgeoisie, the future rulers of television and the world, are terrified of being cuckolded.  You may as well be castrated.  The English language has no female counterpart to ‘unmanned.’  The sequence is as paralyzingly funny as the mirror sequence with Groucho Marx in Duck Soup, and is a warrant for the value of filming this kind of theatre, so that we can see close-up the facial contortions of the splendid Italian actor.  For some reason, his pain and anguish at the cruelty of fate reminded me so strongly of that of Jackie Gleason in The Honeymooners.  There are times when we get almost viscerally grabbed by the universality of theatre going right back to commedia dell’ arte and the Greeks.  And all this at what used to be a convent, then a red-light area, and now one of the more singular tourist traps on this earth.

And with it all there is a sense of elegy – unless that is just my coming to grips with coming gutsers as I get older.  Falstaff is not what he was.  They know it, and so does he.  An autumnal wistfulness pervades Henry IV Part II until it is shattered by an act of brutal betrayal.  We are spared this in the comedy and opera based on it, but not in Orson Welles’ Chimes at Midnight also entitled Falstaff.  (I do think it was a bit rich to give Jeanne Moreau second billing, when the tart Doll Tearsheet gets about three lines.)

In his play, Parolles gets his come-uppance too, but his decline and fall is total, and the pathos is scarcely funny.  As Tony Tanner remarked in discussing All’s Well, Falstaff in the comedy ‘dusts himself off fairly breezily…his attitude is more resigned – you win some, you lose some, and as you get older you lose more.’ 

I know just what he means, and perhaps that is why this play and opera just keeps getting better for me as I age.  It calls to mind a desolate Friday lunch in an Adelaide pub after court about forty years ago with a fading silk.  ‘You know, Mate, we are just like cats.  For every fight you have, you have one less to give.’

The Australian Opera put on a show of Falstaff in Melbourne about twenty years ago that mesmerised me and converted me to being a life-long a fan of both the play and the opera.  Well, this show at Covent Garden, now on film, is up there with the best – perhaps the locals can claim a home ground advantage, even if we now miss the subtle charms of the Crush Bar.  If anyone wants to challenge the West End as the beating heart of world theatre, they will have to get up bloody early.

All’s Well That Ends Well Revisited

This is one of my very favourite plays.  The other night I played for the first time the 2011 Globe production in a set of the comedies put out by Opus Arte.  It was a serendipitous choice.

I really enjoyed the show.   I see from the extracts below of my note in Windows on Shakespeare that I thought the Countess was a great role for a leading lady getting on.  Janie Dee at the Globe was perfect – fresh as a daisy – and she knows it.  She oozes West End sexiness – at altitude.

And the relief and redemption of Parolles – a victim of caste – is a very moving and under-rated part of this playwright’s output.

The final resolution is not quite as good at the Globe as in the BBC version – they dropped a critical line – and the performance of Michael Hordern does stay with me.  Otherwise, James Garnon was right up to Parolles.  He and the Countess are for me the two leads.  That view may be said to be idiosyncratic.

In the end, Lafew tells Parolles – ‘Good Tom Drum’ – he will ‘make sport’ with him at home.  It is just like Claude Rains saying ‘This could be the start of a beautiful friendship.’  It’s as if Lafew can not only smell onions, but see that all the world is but a stage.

And it is a reminder that plays are meant to be seen and heard.

Perhaps not enough attention has been paid to Helena’s introduction of Parolles in the first scene:

And yet I know him a notorious liar,
 Think him a great way fool, solely a coward.
 Yet these fixed evils sit so fit in him
 That they take place when virtue’s steely bones
 Looks bleak i’ th’ cold wind. Withal, full oft we see

 Cold wisdom waiting on superfluous folly.

If we parse the difficult ending, we may get something like: ‘In the cold light of day, it is often hard to do the right thing, but we often see that those at the bottom of the ladderdo better than those above them.’  Chivalry had been a target – why not mere gentility?  Good grief – it would all sound downright Bolshie at 36 Collins St.

This production is an English gift to the world.  I have been fortunate to see six of the plays at the Globe, but All’s Well is I think the only play of the thirty-eight that I have not seen on the stage (allowing that the three parts of Henry VI were condensed.)   This production may close that loop.

I could not think of a better introduction to William Shakespeare for children than this Globe production – not least because the cast take their bows in dance form to a cheering audience who had been with them all the way.  

And each of the BBC and Globe performances can be bought singly on Amazon.  I recommend both warmly.

And anyone who can trace the Shaw quote below will get a box of Jaffas (not to roll down the aisle at the flicks).

ALL’S WELL THAT ENDS WELL – A TALE OF TWO CADS
It is always the Conservatives who stop behaving like gentlemen first.

(G B Shaw)

When an officer and sometime gentleman dumped on the late Princess of Wales, The Times newspaper published a column that concluded by saying that the system had flushed out ‘an absolute shit’. That is a more earthy and more general way of saying that he was a ‘cad’ or ‘bounder’ or ‘rotter’. We have a perpetual interest in this type of figure because it involves a failure in one of the better people, and that gives a degree of comfort to a lot of the rest of us. …. All’s Well that Ends Well has two different types of cad, Bertram, the Count of Rousillon, and his follower, Parolles (a variant of paroles, French for ‘words’). The play involves three themes well known in legends and fairy tales: the healing of a sick king; the completing of the hero of impossible tasks to achieve vindication; and the ‘bed trick’ – someone being duped into sleeping with someone other than the person they thought they were going to bed with. At least some might be precluded from denouncing the bed trick as an impossible fairy tale, because we first see it in Genesis between Jacob and Leah and Rachel……

We have, therefore, two cads. Let us look at the difference between them. Bertram is a spoiled brat……He has the magnificent incapacity of the egocentric to see that another person may be involved. He can think only of himself. He has little or no imagination. The snobbery is not the problem. It is not a question of class, but of caste….

No, the problem is that Bertram is all give and no take. He accepts the benefits, not the burden noblesse, yes; oblige, no. Bertram is the herald of the collapse of the aristocracy……

……..Parolles would have been the final nightmare for Mistress Quickly– he is the definitive ‘swaggerer’…….He is relatively harmless. There is not much malice in him. There is not much of anything there. He just comes and goes like an autumn leaf, but he can only address his betters – nearly everyone– in terms of fantasy. He is a permanent prisoner of fantasy land because he was not born able to cope with the world as the rest of us see it. …. Cads who come from a privileged background have so much more to answer for than cads who have never had a chance.

……. But Parolles knows he is skating on thin ice. ‘They begin to smoke me, and disgraces of late knocked too often at my door. I find my tongue is too foolhardy.’ (4.1.28-30) When the balloon goes up he is ‘thankful’.

… Captain I will be no more
But I will eat and drink and sleep as soft
As Captain shall. Simply the thing I am
Shall make me live. Who knows himself a braggart,
Let him fear this; for it will come to pass
That every braggart shall be found an ass.
 (4.3.346-351)

The second difference is caste. Bertram is a noble; Parolles is a nobody…. For a lot lesser failing, Parolles is utterly cast out, and returns to Court unrecognised as a beggar. One cad is humiliated and crushed; the other cad is forgiven and pampered – and told to come back for more. Bertram likes to see himself as a victim; Parolles doubtless is one.

This is where this play gets its real edge – in the benefits and burdens of caste – and this has not been sufficiently noticed. The kindly old Lord Lafew (wonderfully played by Michael Horden for the BBC) regularly reminded Parolles of his lack of substance. He does not recognise him on his return. There is a most affecting scene……

This is very high theatre. This broken wreck of a nobody is taken up by the informed charity of an older man who is a member of the real nobility in a way that would have been unthinkable to Count Rousillon or his mates. ‘Give me your hand. How does your drum?’ The simplest words are usually the best, not least with this author.

…. While Coleridge thought Helena was ‘Shakespeare’s loveliest character’, Shaw thought that the Countess was ‘the most beautiful old woman’s part ever written’. The Countess is a great role for great actresses in the autumn of their careers. You can listen to Edith Evans or Celia Johnson in the BBC production. They supply a marvellous blanket of humanity on the rough and nervous edges of the men. The 2009 National Theatre production was a little too twee for some; you feared that Puss in Boots might jump Little Red Riding Hood.

……. Here, then, is a comment on the class structure – if you like, the aristocracy– that looks forward to the protest in The Marriage of Figaro; and the sterner protest in the French Revolution. Just as directors and audiences have altered their perspective on Malvolio and Rigoletto, now it may be time to do so with Parolles……. Perhaps it is just a matter of time until some impious clown suggests that this ratbag Parolles may be a more substantial character than that ratbag Falstaff.  Such a promotion of Parolles would not be without precedent – of the highest order. Royalty. Falstaff may have been the favourite of Queen Elizabeth, but Charles I substituted Parolles for All’s Well as the play’s title in his copy of the Second Folio.

This is a very entertaining night at the theatre. We go to the theatre to be entertained, and also to sit and look down upon ourselves, and come out later with hopefully just a little more light inside than when we went in. From any other playwright All’s Well would be saluted as a great play– and it is a great play, because it affords us a lyrical insight into the way we are.

And let us hear no more of ‘problem’ plays, the subject of a Cambridge weekender.   Troilus and Cressida is too long, and its main characters or ideas are either boring or out of fashion.  But All’s Well and Measure for Measure are not ‘comedies’ as we know that term.  They are plays written with an edge that is just right for modern audiences and written by a great playwright when writing at the height of his powers.  We do not need to have them spoon-fed to us as fairy tales.  That is about all that they were before this genius got his hands on them.

Villains – and evil

[This was posted before the recent U S election.  It is set out again because every word bears on how our worst fears have been realised since Trump took office.  In The New York Times, Thomas Friedman said the question is whether Trump is the dupe of Putin or a Mafia don running a protection racket.]

There is no such thing as evil.  It is not something that you can sprinkle on or detect in your fish and chips.  Rather, it is a label that we attach to some forms of conduct.  And what we usually have in mind are people who are ready, willing and able to hurt or kill other people for the sake of it – or, as the saying goes, for the hell of it.  There may be no other apparent motive.  The pickpocket, the drug dealer, the rapist, the blackmailer, the vengeful husband, the neo-Nazi – they all have a motive.  But the villain?

At the beginning of his lecture on Richard III, W H Auden said there is a difference between a criminal and what we call a villain.  ‘The villain is an extremely conscious person and commits a crime consciously and for its own sake.’  The leading examples in Shakespeare, apart from Richard III, are Aaron in Titus Andronicus, and Iago in Othello.

In ordinary language, an evil person is one who wants to do wrong by others.  Such a person gets called a villain.  That word has apparently come down to us from villein, the equivalent of the serf at the bottom of the medieval social ladder.  Brewer (Dictionary of Phrase and Fable) says that the notion of ‘rascality, wickedness and worthlessness now associated with villainis a result of aristocratic condescension and sense of superiority’.  That is very English.  (The editor cites a passage from the opening scene of As You Like It, where both meanings are in play in the one sentence.)

There is, at least in our literature, another type of villain, if I may be permitted that term.  Some characters are so made that they cannot stand goodness.  When in Paradise Lost, Satan comes across Adam and Eve, he ‘felt how awful goodness is’.  (And if Satan is not entitled to have a view on evil, no one is.)  Iago saw in Cassio a kind of ‘daily beauty’ that unsettled him.  The most gross example is John Claggart in Billy Budd – especially in the libretto of the opera.  Claggart is unmanned by the simple goodness of Billy. 

O beauty, o handsomeness, goodness!  
Would that I never encountered you!  
Would that I lived in my own world always,  
in that depravity to which I was born.  
There I found peace of a sort, there I established  
an order such as reigns in Hell…….
Having seen you, what choice remains to me?  
None, none! I’m doomed to annihilate you,  
I’m vowed to your destruction. ….
No, you cannot escape!  
With hate and envy, I’m stronger than love….

There is more.

But when we come to look at Richard III, we will see that some bad actors are driven by pure envy in looking at what others get in life that is certainly denied to them.  Iago drove Othello to be jealous of what he thought Cassio was up to with his wife, but Iago envied Cassio for his good fortune and success in life.  In the grizzly argot of our time, Iago, a man of ‘other ranks’ bitterly resented the elites.

In papers called Richard and Adolf and The Seduction of Seduction, I have looked at some of these issues, but here I wish to focus on what the play Richard III may tell us now about the phenomenon of Donald Trump.

But, first, I want to say something about the best-known character of Shakespeare – Sir John Falstaff.  Not in any order, Falstaff is a coward, a liar, a fraud, a womaniser, a drunk, and a rotten fat skunk.  And he is this playwright’s most popular and enduring character.  One reason is that he said things and did things to offend and upset the Establishment in ways that we would like to be able to do.  He put the boot into knighthood and chivalry as surely as Cervantes did with Don Quixote.  He was the champion of those who had missed out. 

Well, if you go to a MAGA rally, you will not find too many people successful in a profession, government, academe, or business.  (Nor will you find any at the bottom of the scale, sleeping rough.)

And we might here telegraph a warning about the significance of Falstaff.  Dr Johnson said the character was loaded with faults, ‘and with those faults that naturally produce contempt.’  But he concluded his remarks:

The moral to be drawn from this representation is that no man is more dangerous that he that with a will to corrupt hath the power to please; and that neither wit nor honesty ought to think themselves safe with such a companion when they see Henry seduced by Falstaff.  (My emphasis.)

I see the seduction as the other way around, but the point remains.  What is it that attracts us to some complete ratbags?  How do we get sucked in – conned?

In discussing Richard III, Dr Johnson said that Shakespeare was careful to suggest that the wickedness of Richard proceeded from his deformity – and from the ‘envy that rose at the comparison of his own person with others, and which incited him to disturb the pleasures that he could not enjoy’.  There is a lot of that in the Austrian corporal who was rejected by both Vienna and the German High Command.  But at the beginning of Richard III, in his opening speech, Richard says that with all his obvious defects, he is ‘determined to prove a villain.’  The author had paved the way in the prior play (Henry VI, Part III, 3.2 and 5.6), when Richard told us that he can smile and murder while he smiles – which he later does while stabbing a king to death, while saying that he has ‘neither, pity, love, nor fear…. I am myself alone.’  By the end of the preceding play, Richard had happily compared himself to Judas – and you can’t go lower than that.

Here then is the triumph of the ego in the ultimate smiling assassin.  Now, that is a title that we would award to Vladimir Putin rather than Donald Trump, but that does not mean that we may not get some guidance on how to deal with the latter, from the insights into our humanity of the greatest playwright the world has known.

Here are some points of resemblance and distinction.

Each comes from a background that is on any view ‘privileged’ – and each knows little about the rest of the world, and each cares even less.  Neither really cares for anybody else.  The self is all in all.

Each is in his own way childlike.  Each has a view of the world that is at best superficial.  Neither could imagine a world without himself.  Nothing in the world is relevant unless it relates to him.  Somehow. the ordinary rules do not apply to him.

Each disdains anything remotely resembling book learning.

Richard, like Trump, did not care for others, but he could seduce them.  In this they both resemble Don Giovanni.  The seducer is amoral and it’s as if their victims had some sort of death wish.  If these seducers have any conscience, and it is a real issue for both, it just does not work.

Conscience is but a word that cowards use,

Devised at first to keep the strong in awe;

Our strong arms be our conscience, swords our law!  (Richard III, 5.3.310-312)

That is the credo of the fascist.

People rarely get close or remain close to either of them.  They are mostly front.  Their egos do not allow much time out for others.  If someone breaks through, it is just a matter of time before they are ejected – with extreme prejudice.  Buckingham was Richard’s most loyal supporter in winning the crown.  When he feels the rift, he is ‘off while my fearful head is on’ (4.2.121).  With Trump, the rift comes when the lackey gets caught, and Trump drops him cold – and in the slammer.

You could not reason with either.  They create their own reality.  Both resemble spoiled children who never learned better, or grown up.

They enjoy the game of plotting to get power.  They are born gamblers.  Why not?  They take huge risks because they don’t mind if others get hurt.  But they are very bad on the job when they get it.  They were not made for responsibility in government – or anything else.  In this and other respects, they are like spoiled children who have not known what it is to be accountable.

Revenge for them is very personal.  This is because the loyalty they expect is very personal.  People owe loyalty not to the office or the nation, but to the leader personally.  This was the great error of the German High Command in dealing with Adolf Hitler, and it is the beginning of the shredding of anything like the rule of law.  What you get is personal power of someone above the law.  The old term was ‘tyrant’.

There was a beautiful example with the singer, Taylor Swift.  She was a threat because she might prove more popular than Trump.  And she had backed the other side.  Trump said there was ‘no way she could endorse Crooked Joe Biden’ and would never be ‘disloyal to the man who made her so much money’.  Congress had passed an act giving financial aid to singers, but to Trump, it never gets above the personal.  In Darkness at Noon, by Arthur Koestler, the last chapter is headed ‘The Grammatical Fiction.’  There is no such thing as ‘I’.  In the world of Donald Trump – and Richard III – it is the other way around.  There is ego – and that is that.  The Oxford English Dictionary happily defines egomania as ‘the insanity of self-exaltation’. 

The personal nature of the rule, and the grubby means by which these people come to power, feeds on and promotes division and conflict, and simple hate.  They are a form of cancer on the community.  Indeed, that is the underlying thread of these plays leading to and from the Wars of the Roses.  Trump just went one further by denying that he had ever lost power.

These people appeal to those who feel they have missed out in the race of life.  This is more Trump’s schtick than that of Richard.  The scenes where Richard says that he has to be enlisted for the benefit of the common weal are frankly comical – but, in truth, no more incredible than what Trump’s ‘base’ salutes him for.  His followers think that they have been treated unfairly, and that this gives them a moral right to seek retribution.  And they are quick to identify those who they think should answer for their ill treatment – although they do not use the word ‘scapegoats.’  Their leaders go along with this.  It brings the loudest cheers at the rallies.  This is more like Jack Cade than Richard.  The oppressed believe that their leader is the one to look after them, and preserve what they have managed to retain from the wreckage wrought by their opponents.

They both play rough.  They know no other way.  They just ride roughshod over any doubter or opponent who gets in their way.  Bluff is built into their persona.  And if you are going to lie, lie big.  It is as if there is nothing left solid in the relative ether, and people have always preferred fiction to history.  This braggadocio is just another part of the intimidation, and it is always the scheme of the dictator to involve as many as possible in the dirty work, so that they get locked in by their own complicity.  There is the sleight of hand of those we used to call mountebanks.  Here is Brewer on mountebank:

A vendor of quack medicines at fairs…who attracts the crowd by his tricks and antics; hence any charlatan or self-advertising pretender.  The bank, or bench, was the counter on which traders displayed their goods, and street vendors used to mount on their bank to patter to the public.

That description brings us from the post-medieval morality plays and commedia dell’arte to Richard III – and it is also very apt for a MAGA rally.

Now for some differences. 

Richard was a worthy soldier in battle, and prepared to do his own murders.  But Richard does not delude himself as Trump appears to do.  On the contrary, he takes great pride in his machinations and the pure malice that drives them.  When he seduces Anne, a process that is revolting, he challenges the audience to come with him.  He is celebrating a win for the misfits.  ‘And yet to win her, all the world to nothing’ (1.2.237) Auden said (in 1946) of the opening monologue of Richard that it was ‘not unlike Adolf Hitler’s speech to his General Staff on 23 August 1939 in its utter lack of self-deception.’  That is a remarkable analogy.  Some were more than troubled by the apocalyptic and brazen tripe of Trump in his (first) inaugural.  Was this the same nation that gave the world Abraham Lincoln? 

Auden also said that Richard was not ambitious in the ordinary sense of that term.  ‘He’s not interested in becoming king for the position of power, but because becoming king is so difficult.’  Well, others might put differently that description of the pursuit of the prize. 

But we come now to the bad news.  Dr Johnson, as we saw, warned against the dangers in succumbing to the whiles of Falstaff.  Sir Anthony Quayle played Falstaff and fairly described him as ‘frankly vicious.’  Why do we fall for him?

The problem is that Richard takes the audience with him and at least in part seduces the audience.  I referred above to the old morality plays.  They appeared in England in the 15th and 16th centuries – to set up the triumph of virtue over vice.  Vice was a central character – generally named after a particular vice, like pride or greed, who wore a cap with asses’ ears (so prefiguring Bottom). 

Richard expressly makes a reference to Vice.  ‘Thus, like the formal Vice, Iniquity, I moralise two meanings in one word’ (3.1.82-83).  I need to set out what Tony Tanner says here in full.

The Vice was the self-avowed mischief-maker, if not chaos-bringer, and we should remember that one of his Satanic privileges was to inveigle the audience into laughing at evil.  The figure of the Vice was clearly invaluable to Shakespeare when it came to depicting inexplicable evil, evil which seems gratuitous, unmotivated, simply for its own sake.  From any point of view, Richard’s behaviour is profoundly irrational, and is finally both horrifying and incomprehensible even to his closest accomplices (in fact, no one is close to him at all; simply some accompany him further into his evils than others.)  Richard is, as he has told us, an expert Machiavel; he is also a Senecan tyrant and a Marlovian villain (closest to Barabbas in The Jew of Malta).  But he is primarily a Vice.  However – and this is crucial – he is a Vice who acquires (no matter how foully) the legitimate robes of a king.

Those insights round off this discussion.  ‘Chaos-bringer’ is so apt.  And remember just how vicious, how horrifying, Richard is.  The murderer of the children is unmanned by this ‘most arch deed of piteous massacre’ (4.3.2).  The king can hardly wait until after supper to hear ‘the process of their death.’

It is then that we recall that the playwright has subjected us to hours of flirtation with our taste for violence and deceit.  It is followed by a set piece of our theatre – the judgment of the Furies, the mother and two wronged queens, one of whom is a world authority on cursing.  We need to remember that Richard got to the crown not by guile or rebellion, but by murder in cold blood.  It makes The Godfather look pale – but we get a kick out of that, too.

So, as we watch in trepidation the possible revival of Donald Trump, despite all his offences against humanity, we should ask again – just why do we fall for some kinds of ratbag? 

And while doing so, we might recall that it does not require anything like the incandescent genius of Shakespeare, or the craftiness of Satan, to induce our undoing.  And despite his trysts with the ghosts, Richard goes down swinging, like Don Giovanni, but sans cheval.  And there were some in the cinema who cheered him on even there.

May I finally say something about the condition of the United States now?  In discussing Julius Caesar, Auden said that Rome was not doomed by the passions of selfish individuals, but ‘by an intellectual and spiritual failure of nerve that made the society incapable of dealing with its situation’   Angela Merkel said that ‘Sometimes my greatest fear is that we have somehow lost the inner strength to stand up for our way of life’.  The phrase ‘inner strength’ catches the eye.  A German man called Stephen Haffner lived through the twenties and thirties and the rise of Hitler.  He described the failure of Germany in very simple terms as a kind of ‘nervous breakdown’ that flowed from the want of a ‘solid inner kernel.’

The only thing that is missing is what in animals is called ‘breeding’.  This is a solid inner kernel that cannot be shaken by external pressures and forces, something noble and steely, a reserve of pride, principle and dignity to be drawn on in the hour of trial….  At the moment of truth, when other nations rise spontaneously to the occasion, the Germans collectively and limply collapsed.  They yielded and capitulated, and suffered a nervous breakdown…

That is just how major battles and sporting events are won and lost.  Sadly, it does not help either us or the U S that we have seen it all before.

Richard II

Richard II has been one of my favourite plays for more than fifty years – when I first heard Gielgud in the lead.  The reasons are set out in the note below, which I wrote more than ten years ago for a book on Shakespeare. 

After listening to the play for the nth time, I ordered a book The Reign of Richard II.  It is a collection of papers given at the University of York on subjects like A Personal Portrait, The Chivalry, His Sense of English History, and His Reputation.

Two things struck me about the papers.  First, many commentators, who are historians, felt happy about looking at the psychological or psychoanalytic aspects of this medieval king and evaluating the evidence and conclusions. 

Secondly, and much more remarkably, no one saw fit to mention how Shakespeare saw this character.  This unmatched genius could see inside us and our history, but no one at this conference thought Shakespeare was worth mentioning. 

What about Divine Right?  How do you square that with the barons putting their king under contract in 1215?  Were the references to Pilate and Judas justified?  What other aspects of the passion play do we have here?  Opinions may differ on whether Shakespeare painted Bolingbroke as shifty – I think he did – but is clear that Shakespeare saw this usurpation as an infection that would culminate in the Wars of the Roses.  Did Shakespeare get it right or was he just wrong?

This silence is at the university very odd.  But there is an upside.  Here is an extract of the psychoanalysis.

The most plausible way of reconciling the opposites in the king’s character is to see Richard’s character as essentially narcissistic – a condition in which only the person himself – his own body, his own needs and feelings – are experienced as fully real.   Generally, a narcissistic person achieves a sense of security in his own subjective conviction of his perfection.  This is a condition characteristic of rulers with a high sense of mission, and having an obsessive interest in the trappings of power.  Its sufferers have ‘an appetite for self-worship.’  It finally detaches its victims from reality so that they become cocooned from the outside world by groups of yes-men and by physical isolation, which was Richard’s eventual fate.  By the final years of his reign, there can be little doubt that Richard’s grasp on reality was becoming weaker.

The author of the paper from which that quote is taken went on to say that Richard was ‘vengeful’ and ‘reacted very badly and very aggressively, to any criticism made of him’.  ‘The general attitude [of low confidence] is…. domineering, attacking, hostile, blaming, mistrustful, status-seeking, and punitive.’

Well, we now have the AI model of that narcissist in Donald Trump.  One difference is that he would never abdicate.  Rather, he would not accept being deposed – even when done with due process of law.

Otherwise, as the book says, there is nothing new under the sun.  Which make the omission of reference to Shakespeare even more remarkable.

The play is called ‘The Tragedy of Richard II.’  It is certainly a tragedy, and it is in my view the most operatic play ever written.  Of course, Churchill reveled in it.  It is a rolling twenty-one-gun salute to the majesty of the English language and history.

(Set out below is my earlier note of more than ten years ago.  Since then, Opus Arte has released its version at the Globe, which is not as mangled as many are there now, and the RSC has released the version with David Tennant directed by Greg Doran.  Sadly, they sent Tennant out as a rampant hairy queen desperate to be debagged, and in so doing trashed the whole play.)

RICHARD II
AN EFFEMINATE ROYAL IN A PASSION PLAY

In this man’s reign began this fatal strife

The bloody argument whereof we treat
That dearly costs so many a prince’s life

And spoil’d the weak and ev’n consumed the great

(Daniel, Civil Wars)

Jussi Bjoerling is frequently said to have been the most popular tenor of the last century.  He had a clear, high, lyric tone that still sounds as pure as silver. (Caruso was more golden and chiaroscuro.)  Some have the same sensation listening to Richard II, of a clear, high lyric tone that sounds as pure as silver.

This play evokes our sense of opera in another way.  Most composers like to load up their operas with big arias for their big singers.  Puccini did it so that his guns could really unleash themselves in a way that highbrows think is shameless, but that the rest of us enjoy shamelessly.  A few people know Vissi d’Arte; many have heard Un Bel Di; but everyone knows Nessun Dorma.  

Shakespeare loaded this play up with set pieces for the big guns of the stage, so that listening to the recording featuring John Gielgud as Richard and Leo McKern as John of Gaunt has for some about the same impact as coming to terms with an ’86 Grange.

Richard was the last of the Plantagenets.  He took by succession and Divine Right.  His misrule and weakness led to his being deposed, and so to generations of civil strife.
A medieval king was the fountain of justice.  At the beginning of this play, this King breaches his obligations in that position fundamentally– twice.

The King failed to follow the established legal process to rule on a dispute between two of his barons.  They were entitled to and did seek under the common law of England trial by battle of the issue between them.  One of the parties, Bolingbroke, the future Henry IV, says:

Look what I speak, my life shall prove it true. (1.1.87)
He has another charge:
… and I will in battle prove. (1.1.92)

The second charge related to the murder of a duke. This was a sensitive charge since the King, the judge if you like, had given orders for the murder.  Well, for whatever reason, Richard intervened after a massive display of chivalry, and stopped the combat, a form of judicial duel.  He banished both of the litigants, but Bolingbroke and his family for a lesser time.  The King had therefore made enemies of two families by interfering with the due process of the law.  Bolingbroke laments his exile:

How long a time lies in one little word.
Four lagging winters and four wanton springs
End in a word – such is the breath of kings.
 (1.3.212-214)

As the second scene of the play shows, the supporters of the King include those who are under a duty to avenge the death of the murdered duke.  How do you fight a judicial duel with the substitute of God?  How can the King try a case that involves one of his political assassinations?

The second mistake of Richard was to confiscate the property that had belonged to the father of Bolingbroke, John of Gaunt, after his death.  This was illegal.  (Richard needed funds for a foreign war – this has long been an incentive to illegality.)  In doing this, Richard was breaking the laws of inheritance– but these laws are the source of his own title.  York says just this:

Take Hereford’s rights away, and take from time
His charters and his customary rights,
Let not tomorrow then ensue today;
Be not thyself. For how art thou not a King
But by fair sequence and succession. 
(2.1.195-199)

As a result of these two great fallings off by the King, Bolingbroke returns to England.  He says he does so just to claim his own private rights and not to claim the crown, but Bolingbroke– who does not show us his mind by a soliloquy– is as evasive about his intention as a modern politician is when thinking of challenging for the leadership of the party. After he had become King, he was to say:

Though then, God knows, I had no such intent

But that necessity so bowed the state,
That I and greatness were compelled to kiss.
 (2 Henry IV, 3.1.72-74)
From the time when Richard returns to Ireland, it is all downhill. As Tony Tanner remarked:
Perhaps … he can already see the writing on the wall; but to a certain, quite distinct extent, he himself is doing the writing.

Here is some of the high poetry of this failed king.
… I weep for joy
To stand upon my kingdom once again.
Dear earth, I do salute thee with my hand;
Though rebels wound thee with their horses’ hoofs.
 (3.2.4-7)

So when this thief, this traitor, Bolingbroke,
Who all this while hath revelled in the night
Whilst we were wand’ring with the Antipodes
Shall see us rising in our throne, the east,
His treasons will sit blushing in his face,
Not able to endure the sight of day,
But self-affrighted tremble at his sin.
Not all the water in the rough rude sea
Can wash the balm off from an anointed king;
The breath of worldly men cannot depose
The deputy elected by the Lord.
For every man that Bolingbroke hath pressed
To shift shrewd steel against our golden crown,
God for his Richard hath in heavenly pay
A glorious angel; then, if angels fight,
Weak men must fall, for Heaven still guards the right.
 (3.2.47-62)

 No matter where– of comfort no man speaks.
Let’s talk of graves, of worms, and epitaphs.
Make dust our paper, and with rainy eyes
Write sorrow in the bosom of the earth.
Let’s choose executors and talk of wills:
And yet not so, for what can be bequeath
Save our deposèd bodies to the ground?
Our lands, our lives, and all are Bolingbroke’s;
And nothing can we call our own, but death
And that small model of the barren earth
Which serves as paste and cover to our bones.
For God’s sake let us sit upon the ground
And tell sad stories of the death of kings:
How some have been deposed, some slain in war,
Some haunted by the ghosts they have deposed;
Some poisoned by their wives, some sleeping killed
All murdered – for within the hollow crown
That rounds the mortal temples of a king
Keep Death his court, and there the antic sits,
Scoffing his state and grinning at his pomp
Allowing him a breath, a little scene,
To monarchise, be feared, and kill with looks
Infusing him with self and vain conceit
As if this flesh that walls about our life
Were brass impregnable;, and, humoured thus,
Comes at the last, and with a little pin
Bores through his castle wall, and farewell King!
 (3.2.144-170)

He is very up and down. He rallies and then he falls.  Here is a rally:
Yet know, my master, God omnipotent,
Is mustering in his clouds on our behalf
Armies of pestilence, and they shall strike
Your children yet unborn and unbegot
That lift your vassal hands against my head,
And threat the glory of my precious Crown.
Tell Bolingbroke– for yon methinks he stands –
That every stride he takes upon my land
Is dangerous treason.  He has come to open
The purple testament of bleeding war …
 (3.3.84-93)

But he gives in. Here is a real down.
What must the King do now? Must he submit?
The King shall do it. Must he be deposed?
The King shall be contented. Must he lose
The name of King? A God’s name, let it go.
I’ll give my jewels for a set of beads;
My gorgeous palace for a hermitage;
My gay apparel for an almsman’s gown;
My figured goblets for a dish of wood;
My sceptre for a palmer’s walking staff;
My subjects for a pair of carved saints;
And my large kingdom for a little grave,
A little, little grave, an obscure grave …
 (3.3.142-153)

Has the theatre – the theatre– ever known language of such silver grace?  When in Act 4, Richard formally surrenders the Crown, his disillusion takes him to a different tone.

Now, mark me how I will undo myself.
I give this heavy weight from off my head,
And this unwieldy sceptre from my hand,
The pride of kingly sway from out my heart;
With mine own tears I wash away my balm,
With my own hands I give away my crown,
With my own tongue deny my sacred state,
With mine own breath release all duteous oaths;
All pomp and majesty I do forswear …
 (4.1.202-210)

He calls for a mirror:
… Was this the face
That, like the sun, did make beholders wink?
Was this the face that faced so many follies,
And was at last outfaced by Bolingbroke?
A brittle glory shineth in this face,
As brittle as the glory is the face,

[Throws glass down]
For there it is, cracked in a hundred shivers.
Mark, silent King, the moral of this sport:
How soon my sorrow hath destroyed my face.
 (4.1.283-290)

Richard, the actor, starts to comment on his own performance:
… Say that again.
‘The shadow of my sorrow’? Ha, let’s see.
‘Tis very true, my grief lies all within …
 (4.1.292-294)

Richard is now the very picture of self-centred self-pity, but his subsequent murder haunts Henry IV and the nation as a whole for the rest of this series of plays.

It is not surprising that Elizabeth did not like this play being performed.  Dethroning a king is a not a good precedent. (Verdi had to convert the murdered king of The Masked Ball to a Governor of Boston to get it performed.)  Medieval kings were the Lord’s Anointed, and it was almost inevitable that Richard would see himself as some Christ-like figure betrayed by Judas and arraigned by Pilate.  Indeed, some see in this play Richard enduring the Stations of the Cross.

He loses it completely, as we now say, at times, as shown by his shift in pronouns in:
I had forgot myself: am I not King?
Awake, thou coward majesty! Thou sleepest.
Is not the King’s name twenty thousand names?
Arm my name!  A puny subject strikes
At thy great glory.  Look not to the ground,
Ye favourites of a king, are we not high?
High be our thoughts. 
(3.2.83-9)

Bolingbroke has shown his intention to take control by executing his opponents before he was crowned. He said that ‘to wash your blood / From off my hands’ (3.1.5-7) he will say why they die. Richard refers to:

… some of you, with Pilate, wash your hands. (4.1.238)

And right at the end, Bolingbroke, now the King, says:
I’ll make a voyage to the Holy Land,
To wash this blood from off my guilty hand.
 (5.6.49-50)

Going on a Crusade was a way of doing penance and getting remission from sins for those who subscribed to the medieval church, which was everyone in the Middle Ages.  This was all still real to Elizabethan audiences.  For us, Richard is a shallow man not up to his job – 10 for noblesse; 0 for oblige.  Richard had a weak, effeminate, showman side.  Coleridge said Shakespeare did not mean to represent Richard as ‘a vulgar debauchee, but merely as a wantonness in feminine shew, feminine friendism, intensely woman-like love of those immediately about him, mistaking the delight of being loved by him for love for him.’

Coleridge also said that Richard endeavoured to ‘shelter himself from that which is around him by a cloud of his own thoughts’ and went on:

Throughout his whole career may be noticed the most rapid transitions – from the highest insolence to the lowest humility – from hope to despair, from the extravagance of love to the agonies of resentment, and from pretended resignation to the bitterest reproaches.  The whole is joined with the utmost richness and copiousness of thought, and were there an actor capable of representing Richard, the part would delight us more than any other of Shakespeare’s masterpieces – with perhaps, the single exception of King Lear.

We may agree with Coleridge, especially since we found the actor capable of representing Richard.  For people who love language and care for history, Richard II is the play. The best way to take this play is with the Gielgud recording.  Derek Jacobi did not under-camp the role in the BBC production.

We should not leave this play without referring to some of its most famous lines:
This royal throne of kings, this scept’red isle,
This earth of majesty, the seat of Mars,
This other Eden, demi-paradise
This fortress built by nature for herself
Against infection and the hand of war,
This happy breed of men, this little world,
This precious stone set in the silver sea
Which serves it in the office of a wall,
Or as a moat defensive to a house,
Against the envy of less happy lands,
This blessed plot, this earth, this realm, this England, This nurse, this teaming womb of royal kings …
 (2.1.40 – 51)

It is by such things that nations are formed and history is made. The author has as good a title as any to be called the greatest historian of his own nation.

Macaulay on Shakespeare

Macaulay was rarely shy about hoisting his standard.

Perhaps no person can be a poet, or can even enjoy poetry, without a certain unsoundness of mind…. By poetry we mean the art of employing words in such a manner as to produce an illusion on the imagination, the art of doing by means of words what the painter does by means of colours.  (You will see Debussy put beside Impressionist painters like Monet for a similar analogy.) …. Truth indeed is essential to poetry.  The reasonings are just; but the premises are false.  (I do not follow that.)

…. it is the constant manner of Shakespeare to represent the human mind as lying, not under the absolute dominion of one despotic propensity, but under a mixed government, in which a hundred powers balance each other.  Admirable as he was in all parts of his art, we most admire him for this, that while he has left us a greater number of striking portraits than all other dramatists put together, he has scarcely left us a single caricature.

That is a useful reminder not to apply labels to any of the output of this genius.

But it is not by speeches of self-analysis, however great they may be in force and spirit, that the great masters of human nature have portrayed human beings…Shakespeare never tells us that in the mind of Iago, everything that is beautiful and endearing was associated with some filthy and debasing idea.

That looks spot on about Iago – and John Claggart in Billy Budd.

Macaulay did of course have notorious prejudices – against, say, Marlborough and Penn.  (He got himself tied up in knots over Glencoe because his pin-up boy, William of Orange, signed the warrant.) 

And he could show his prejudices in discussing letters, as in this pearler:

The conversation between Brutus and Cassius in the First Act of Julius Caesar is worth the whole French drama ten times over, while the working up of Brutus by Cassius, the stirring of the mob by Antony, and – above all – the dispute and reconciliation of the two generals, are things far beyond the reach of any other poet that ever lived.

Whoa!  Steady, Tom.  That is just the kind of thing that made de Gaulle so hard to handle.

And your reference to reconciliation may have suited the Victorian epoch, but the parts you first mention are immediately followed by the scene where the inflamed mob massacres an innocent poet, and then there is the scene where the not so innocent conspirators settle their hit lists.  I know of no more gripping theatre on our stage.  It is simply breathtaking.

Shakespeare’s Kings in Their Time

It was always yet the trick of the English nation if they have a good thing to make it common.

Death, as the Psalmist saith, is certain to all; all shall die.  How a good yoke of Bullocks at Stamforth Fair?

Shakespeare wrote his ten English history plays when it suited him.  It is instructive to view both the history of England and his development in the chronological order of the plays.  (The references to the shows are to those on Arkangel.)

King John (1199-1216)

(c1596)

This is a vitally medieval play – the king against his barons; the French against the English; and God and his Church over all.  We may as well be on Mars – but for the humanity of the playwright.  It is about perfidy and treachery on high – a favourite theme in drama. 

But the actors that get to us are not noble –the Bastard ( the son of Richard Coeur de Lion), Hubert, and the Papal Legate (Pandulph) – put there to fire up a Tudor Protestant audience (and the modern one I was in when in London once).  Constance is a pain.  (Very unlike Connie in The Godfather.)   The bastard is like a Greek chorus on the nobles – and he prefigures the politician.  Hubert is humanity in the raw – and an English man to boot.

King John is a rat.  He is the epitome of weakness – he urges brutal murder – and then he blames the chosen killer – who has had to defy ‘superior orders’.  The king is one of God’s gifts to the English – provocative but containable.  (The Stuarts in embryo.)  He would lead ineluctably to rebellion and Magna Carta – the foundation of the rule of law. 

Bill Nighy as Pandulph is insidiously malicious – like a gliding taipan in uncut grass.  The intervention of a foreign potentate will come to an end in the last of these history plays, Henry VIII.  The ‘supremacy’ vainly asserted by King John is a reality under King Harry.  What a difference a king makes. 

This  play is in my view sadly very underrated as theatre.  It  is high political drama.

Richard II (1377-1399)

(c1595)

Possibly because the first recording of Shakespeare that I bought had Sir John Gielgud in this role, it has remained very high in my favourites.  It has the aural beauty of Iussi Björling.  As a passion play, it has the pathetic majesty of The Saint Matthew Passion.  (And the recording has Leo McKern groaning that this other Eden is ‘now leased out’ – King John had hocked the kingdom to the Vatican.)

Another weak king is brought to heel – this time terminally, by deposition and death.  Put to one side the law – if a medieval English king did not measure up, he risked being deposed – on a good day.  It is the familiar story of a weak king surrounded by flatterers.  The play starts with full medieval chivalry – that would be detonated in the next play.  The last Plantagenet aborts the process of the law and then unlawfully seizes the property of one side.  This is the dilemma of the whole series – if you take the law into your own hands, how do you stop someone doing the same to you?  ‘How are you a king but by fair sequence and succession?’

Bolingbroke reminds me of the Inquisitor of El Greco – shifty.  And with him we now get populism and a new world.  He is seen to court the commons – ‘Off goes his bonnet to an oyster wench.’  Dead right.  He is the first spin doctor.  He will school his son in stealing ‘all courtesy from heaven’ – and young Harry will be a ready pupil in or out of the stews of London.  We will even get the phrase ‘vile politician’.  When the coup is complete, the rebels prefigure the Inquisition and Stalin.  They want to give a ‘confession’ to the Commons.  The flatterers had said that the love of the Commons ‘lies in their purses’ – how very modern!   And this is another play where a ‘misunderstanding’ leads to the execution of a king or an heir. 

But here is pathos not seen since the Greeks – in the most operatic play ever written.  Rupert Graves grows into the role as the hero softens in his crashing descent.

Henry IV (1399-1413)

(c1597; c1599)

The whole world has changed.  In the second scene of the first of these two plays – which many say are the best this playwright put on the stage – it explodes with the entrance of his most famous character, Sir John Falstaff – and theatre would never be the same again.  Falstaff is fat, old, a liar, a coward, a drunk, a thief, and a womaniser – and that’s on a good day.  But the audience loves him.  He is the living repudiation of honour and chivalry, and he arrived at about the same time as Don Quixote, who was on a similar mission.  But he has that most priceless attribute on the stage – he endears himself to the audience.

So does Percy Hotspur, that most feisty son of Northumberland (who had taunted Richard II, while Percy mocked the heir apparent).  He carries the audience with his reckless energy: he embodies the old world of chivalry.  He is in truth a hero, of the kind Wagner never got close to.  And he too rushes like a torrent to his inevitable death.  Percy also stands for the provincial nobility and the seeds of the Wars of the Roses.  ‘An if we live, we live to tread on kings’.

There is very little that is endearing about Prince Hal.  He is cold and calculating.  He will use Falstaff and his rough mates and others in the taverns until it suits him to drop them.  He is two faced, and in some cultures repudiating a mate is the ultimate crime.  Percy calls him a ‘vile politician’ – ‘a fawning greyhound’ who proffers ‘a candy deal of courtesy.’  Falstaff said Hal is ‘essentially mad without seeming so’.  Auden did not hold back.  He says ‘Hal has no self.’  Auden compares the ‘scoundrel’ Henry V with Richard III.  ‘Hal is the type who becomes a college president, a government head, and one hates their guts.’  Boy – does that ring a bell! 

At least Hal is honest.  ‘I’ll so offend to make offence a skill.’  Say hullo to Boris.  Hotspur?  ‘It were an easy leap to pluck bright honor from  the pale-faced moon.’  Falstaff?  ‘What is honor?  A word.’

Richard Griffith and Alan Cox are up for the leads and the tavern scene is a triumph.

Those who seek to exculpate Hal for his premeditated betrayal of Falstaff are blinded by the poetry, and forget that the object of the game for Shakespeare was to give the audience a great show – one that tells big truths.  If Hal stands for chivalry, was not Falstaff right to repudiate it?  And might we say the same for Hotspur, who seemed to think more of his horse than Kate and who resembles the crazy Siegfried as he staggers laughing to his doom?

In Part I, we get stews and pubs like those in Measure for Measure.  In Part II, we get the middle class and landed gentry like those in Merry Wives of Windsor.  We are a very long way from King John and the feudal barons, and the word ‘feudal’ was not in use then – and Rome is nowhere in sight. 

The whole mood is now autumnal.  ‘We have heard the chimes at midnight.’  (And somehow, I see the gaze of Orson Welles flickering in the firelight.)  And another son of Bolingbroke breaks his word in a way that would have thrilled Hitler, before we get to the scene of the transmission of the Crown – and there are not many scenes as strong as that.

Someone said that watching Shakespeare was like touching the face of God.  Falstaff is a paternal Master of Fun with roots in commedia.  But, as Sir Anthony Quayle said, he is also ‘frankly vicious.’  Well, he is human and so are we.  That I think led Tony Tanner to say that we ‘invariably feel a spasm of pleasure and liberation when someone blows the gaffe on human nature as Falstaff so often, consciously or subconsciously, does.’

That’s when you hear the chimes at midnight.  It is pure alchemy.  Which is to say: it is beyond analysis. It is, like the Pieta, what it is.

(Opera-goers might note that the Falstaff of Verdi, my favourite of his operas, is not that of these plays, but the watered down and worn-down version of Merry Wives of Windsor – a rom.com that the poets turn their noses up on.)

But there remains the conundrum of Falstaff.  He trades in human souls.  He figures that only three of his 150 ragamuffins will survive the battle.  The Hostess complains that she has been ‘fubbed off, fubbed off, and fubbed off.’  The truth is that Falstaff rides roughshod over the whole lot of them.  All chivalry is gone.  It was at best a pretty conceit to soften the brutality of the ethnic cleansing of the Crusades.

Donald Trump could have modelled himself on Sir John.  If you are going to lie, lie big.  The more you outrage the Establishment, the more popular you shall be.  He gets away with things quite out of our reach.  We should forever bear in mind the caution of Dr Johnson. 

The moral to be drawn is that no man is more dangerous than he that with a will to corrupt hath the power to please ;and that neither wit nor honesty ought to think themselves safe with such a companion when they see Henry seduced by Falstaff.

Or vice versa.

And at the end – there is a new player.  ‘Now call we our high court of Parliament.’  And the next play begins with power brokers discussing a bill in the Commons.  The political landscape is shifting massively.

Henry V (1413-1422)

(c1599)

Prince Hal is now King Henry.  As promised, he has cast off Falstaff et al and he is justly blamed for Falstaff’s death.  He and the Holy Church are fit to prey on each other.  The Church will fund a war of national pride.  Honour.  This leads to posturing on both sides.  And tennis balls.  And bloody carnage.

The puppeteer can now play deadly games with traitors before issuing blood-red threats of war crimes before the gates of Harfleur.  Then he presides over the death of Bardolph with sickening hypocrisy.  ‘I know you not old man’ becomes ‘We would have all such offenders so cut off.’  Then he does commit a war crime by ordering the killing of prisoners.  Olivier and Branagh left that out.  For Olivier and Churchill, the Second World War was the reason: I am not sure for Branagh.  Those who do not paint the full picture leave us with Kiplingesque jingoism that is not Shakespeare, no matter how much it warms the cockles at home.  Auden thought ‘the most brutal scene in Shakespeare is Henry’s wooing of Katherine’, and I know what he means.

The scene of the death of Falstaff comes from the gutter.  It is wonderful theatre.  No other playwright has claimed this range.  And at the end, Harry still plays games with those beneath him.  Narcissus to the end.

Henry VI (1422-1461, 1470-1471)

(c1592- 1596)

‘The cease of majesty’.  These three plays are about the weakest king, and the strongest queen, my favourite character, Queen Margaret, the She Wolf of France, especially as played by the immortal Dame Peggy Ashcroft.  (A younger David Tennant is just right as this pathetic young king – like a lost child late for Sunday School.)

But somehow the times are out of joint.  Perhaps here the sequence of composition asserts itself and we seem to be going backward.  There is a jolt – a palpable jolt.  The fingerprints of the Church pervade.  Crashing warrior barons clash with each other and crash out of France.  A champion woman is cruelly treated because she is French – an English failing, and not this author’s high point.  It all feels so medieval.  There are king-makers whom no king can ignore.  And, then, for the first time, we see the masses rise up in the rebellion of Jack Cade: about three hundred years before the French Revolution.  (And that sounds about right on the scales of history.)

But above all, we see the inhuman misery of a weak monarchy and a grizzly civil war, that people I respect simply cannot bear to listen to.  It is like Mad Max.  The Wars of the Roses will be the last hoorah of the magnates.  Next, the English will celebrate Religious Home Rule in the Reformation, and the Stuart kings will cede sovereignty to Parliament. 

Perhaps my editor may forgive me for quoting my favourite lines of Queen Maragaret once again hissed out by Peggy Ashcroft.

Where are your mess of sons to back you now?
The wanton Edward, and the lusty George?
And where’s that valiant crook-back prodigy,
Dicky your boy, that with his grumbling voice
Was wont to cheer his dad in mutinies?
Or, with the rest, where is your darling Rutland?

They would have blushed at that out the outer at Windy Hill or Victoria Park in 1948, the year of the blood premiership.  Even Quentin Tarantino might pause.  This is a long way from Midsummer night’s Dream, and this playwright is nothing if not rounded.

Taken as a whole, the three plays are I think sadly underestimated.  There is plenty of blood and guts.  Kings and nobles were in the front in the wars, but this was a time when winners could cut the heads off their enemies and display them in triumph.  In that they were savages.  Kings and nobles were merely human – but, like the rest of us, capable of dragging us back to the primeval slime. 

There are family or tribal vendettas like those in The Godfather.  The howling protests of the father and son in Part II have no parallel on our stage.  Chivalry?  A ‘gigolot wench’ looks with contempt at the ‘stinking and fly-blown’ corpse of a noble – who had murdered a child in cold blood. 

The plays are intensely political – and politics are about people, not policies.  It was only a matter of  time before the playwright let sex rear its potent head.  There is wall to wall duplicity – and faction, and grinding discord in the caucus.  One faction resorts to murder; another incites the mob to rebellion.  If you cannot get rid of your opponent lawfully, do what you must for the good of the state – or for your party – or for yourself.  What is the upshot of that policy?  ‘I am myself alone.’  And he is the subject of the last of this quartet of plays.

Richard III (1483-1485)

(c1597)

At the start of Act 4 in Part III, we see a bitchy split in the York brothers when Edward IV puts his sex drive before the crown.  Clarence defects.  Richard gives notice of future horrors.  Judas had nothing on him – played by David Troughton with lascivious malice.  ‘I am myself alone…Counting myself but bad til I be best.’

From weakness at the top and chaos below, to evil and misery everywhere.  The trouble is that this evil king sucks us the audience in with him.  The style and ambience are all so different.  This man lives for conflict – that is his oxygen: a small-scale Napoleon or Hitler or Trump.  He will be the last unguided missile to sit on the English throne, and the earth sighs with relief at his inevitable fall. 

This Richard has at least two things in common with Donald Trump.  First, his ego does not allow for a superego, or conscience.  Secondly, and relatedly, ‘he hath no friends but what are friends for fear / Which in his dearest need will fly from him.’  It is just a matter of time before someone who gets too close is cut off – with extreme prejudice.  ‘Richard loves Richard, that is I am I.’

Franco, the Caudillo, used to read through the sentences of death of his enemies while taking his coffee after a meal, often in the presence of his personal priest.   He would write an ‘E’ against those he decided should be executed, and a ‘C’ when commuting the sentence.  For those he considered needed to be made a conspicuous example, he wrote ‘garrote y prensa’ (garrotting and press coverage).  Richard wanted to be told after supper in detail how the two infant princes died – after which he will again be ‘a jolly thriving wooer’.  Well, you could not levy that charge against Hitler, but the psychotic paring is there – and it all gets a bit too much.  The dramatic technique is evolving, but I still prefer the regal tragedy of Richard II.

But this author and producer has now found his feet, and he knows how to play with us.  If you can go the distance with the whole play, it is worth it.  It has about it the aura of an ancient Greek family cursed by fate, with discarded queens hissing curses from a barbed wire fence.  In that way, it is utterly timeless, as is the remark that all power corrupts. 

Plus ça change….

Henry VIII (1509-1547)

(c1613)

Home waters at last as in Yes, Minister – power, greed, corruption, deceit – and pure bullshit.  Above all , put not your trust in princes. 

The king has imposed a tax that makes him unpopular.  Naturally, he blames his first minister, and tells him to fix it.  In turn, the first minister, Wolsey, summons a flack: ‘let it be noised that through our intercession this relief comes.’  Sir Humphrey Appleby, eat your heart out.

It is a play of people falling from a great height, pushed by a randy British bulldog, not much of a rock to build a church on.  ‘Then in a moment, see how soon this mightiness meets misery.’  Given that the Armada and Guy Fawkes were well within living memory, Queen Katherine (Jane Lapotare as I saw it at Stratford and heard on Arkangel) is extraordinarily generously dealt with by Shakespeare, and the authors do not shy away from the issue of the impact of Harry’s sex drive on this world-shaking constitutional issue.  It is masked by high ceremony, that the English are so good at.  Buckingham feels ‘the long divorce of steel’, and the Queen and the Cardinal go their ways to God. 

Timothy West was made to play Cardinal Wolsey.  This ‘holy fox’ is the archetype of the modern politician.  He intrigues with the Vatican to prevent the king marrying Lady Anne, ‘a spleeny Lutheran’ – and he gets caught, and sacked.  When told of the appointment of Sir Thomas More: ‘That’s somewhat sudden.’  When told of the marriage of Anne: ‘There was the weight that pulled me down.’  In the end, he might resemble an up-market Paroles.  The kind Griffith, Katherine’s usher, said of him after his death: ‘His overthrow heaped happiness upon him/ For then and not until then, he felt himself.’  That is very Shakespeare – as is the remark about Cranmer – ‘He has strangled language /In his tears.’

Paul Jesson plays Henry VIII as a vicious manipulator, a man who fancies dark corners.  He reminds me of Churchill on Stalin – as I recall, it was to the effect that he smiled like a crocodile.  (I was told never to get between one and the water; with Putin, you steer clear of sixth floor windows.)  Lytton Strachey said that ‘the Defender of the Faith combined in a peculiar manner the unpleasant vices of meanness and brutality; no! he made the Reformation – he saved England – he was a demi-god.’  It would be left to a daughter to put a humane face on the House of God.

But Archbishop Cranmer survives in a great scene when the king puts the gutless plotters to shame.  It is wonderful theatre when the accused shows his accusers the royal seal.  It could be an ALP caucus in 1948 or a Liberal Party caucus in 2024.  And it is not kind to one of those leading the posse – Sir Thomas More – who would have to be axed before he could be ensainted.  (Which Rome was inclined to do for those killed by English kings.  Henry VIII was furious about their treatment of Becket.)

The king does not get his son, but the now Stuart audience gets a ritual salute to the birth of the daughter, Elizabeth Gloriana.  OK – this is propaganda, butto my mind, this play, although not intended as such, sits well as the epilogue of a great historical cycle.

And if you look back at this motley of kings, there is no stand-out.  This playwright was not there to glorify his kings – although his warmth to the realm is everywhere.  Rather, he is there to show us not just English kings, but the humanity in all of us.  And no one else has got even close.

I am forever reminded of that remark of Richard Burton, when he referred to the ‘staggering compassion’ of William Shakespeare.  The full comment in the diary was –

What chance combination of genes went to the making of that towering imagination, that brilliant gift of words, that staggering compassion, that understanding of all human frailty, that total absence of pomposity, that wit, that pun, that joy in words and the later agony.  It seems that he wrote everything worth writing and the rest of his fraternity have merely fugued on his million themes….

Some pairs in King Lear

Two old men, King Lear and the Earl of Gloucester (or Gloster), drive a theme with two plot-lines.  They are both now past it, and they are out of touch with the next generation – which in their case contains predators to whom they are vulnerable.  They respond by casting out the innocent child.  If Hamlet is about angry young men, King Lear is about angry old men.

Two sisters compete for nastiness.  ‘Tigers, not daughters.’  Bradley looks to give the palm to Regan – notwithstanding that Goneril murders her, and offers to give the same medicine to her own husband in order to make room in her bed for the bastard.  Bradley remarked that Regan had ‘much less force, courage and initiative than her sister, and for that reason is less formidable and more loathsome.’  Tales of evil sisters have a long history, but these too are hard to beat.  When Regan says she is sick, Goneril, the poisoner, says, aside: ‘If not, I’ll ne’er trust medicine.’  The humour is very black and morbid at the end.  But Regan does have ‘Let him smell his way to Dover.’  And that is pure evil.  Perhaps Bradley had in mind that being weaker, and second in line, Regan was the crueller bully when she got her chance.

Two sons, and brothers of sorts, are very different.  The bastard lives up to the argot in his title.  Gloster’s legitimate son, Edgar, is very hardly done by, but he finishes in triumph, while taking out the bastard, and coming into power.

The two husbands of the evil sisters fall out almost immediately, we are told.  Cornwall is the archetypal villain.  Albany comes fully to understand his folly in marrying Goneril.  Cornwall gets his due from a servant – exquisite irony.  Albany is set to retire hurt.  He was not built for this sort of game.

Two members of the aristocracy – two nobles, if you prefer –react in their own way to events above them.  Kent is nothing if not forthright – and he is ferociously loyal.  He is the first out of the family to feel the wrath of the king in his descent into madness.  Gloster is appalled at what is happening, but he plays the role of the dutiful courtier.  But when civil war is started, he has to take sides, and he pays the ultimate price in the cruellest scene of this playwright outside of Titus Andronicus.

The two French wooers of Cordelia are very different.  Burgundy is naturally unsettled that the offer of wealth has been withdrawn by a cranky king of perfidious Albion.  (He takes the Macron view of commerce.)  France is curious and big hearted – but at the end, he picks a bad time to have an alternative engagement, and his wife is murdered.

Two victims stand out because they are effectively disinherited for no good reason – Cordelia and Edgar.  Cordelia is the victim of her father’s hot blood, and the evil of her sisters.  Edgar is the victim of the evil of his sibling, and the pompous rashness of his father.  Gloster commits what might be called the Othello mistake – he convicts a loved one without hearing from him first.  (The mechanics of the two frauds are very similar.)  By contrast, Lear puts some kind of test to his daughter, and then snaps when she refuses to play the game.  There is thus a symmetry of evil and rashness in the story of two of the principal victims.

Two characters are sacrificed because they are simply not up to it.  Neither Gloster nor Albany is set in anything like the heroic mould.  They are courtiers who make up the numbers and who become collateral damage.  Albany survives, but his interest in ruling has died, and it will be a while before he thinks of marrying again.  One such ‘interlude’ is enough.

Two characters are cracked in the head – the Fool by nature, and Poor Tom by design.  The first adds to the theatre; Poor Tom does not do that – at least for most audiences today.

Two are there to meet in a fight, like that at the OK corral – Edgar and Oswald.  And each is up for it.  But Kent was the more natural antagonist: ‘His [Oswald’s] countenance likes me not.’   On this form, he could become an honorary member of the Marylebone Cricket Club. 

(The spray that Kent gives Oswald at 2.2.14ff could excite the jealousy of the coach of Melbourne Storm.  He is justly famous for his sprays of his manly entourage.  One of the milder forms of abuse of Kent for Oswald is ‘the son and heir of a mongrel bitch.’  Speaking of Melbourne Storm and rugby league – which is not the upper-class version of rugby – at their first meeting, Kent labelled Oswald ‘you base football player.’  The Everyman annotation reads: ‘a low game played by idle boys to the scandal of sensible men.’  The football reference makes dating the action in the play even more difficult, but the analogy is now complete.  This play is about the heaviest of this playwright on the stage.  Kent on Oswald is the play’s one belly laugh, and it should be played for all it is worth – otherwise the audience, too, might go mad.)

And there is something of the mathematics of the western in the fugue of the finale – two of the black hats get taken out by two of the white hats. 

And, finally, there is also an element of Greek tragedy.  Lear, Gloster, and to some extent Albany, are cleansed and enlightened by their suffering – Bradley says ‘purified.’  Which is what members of the audience might aspire to as the curtain comes down, and they go out to face the world.

The purpose of the play is to answer the question: ‘Is man no more than this?’  For that purpose, we the audience take upon ourselves the mystery of things, ‘as if we were God’s spies.’  And the answer is that all that stands between us and the primal slime is about as strong as a Tallyho cigarette paper.  That is why the study of evil in the theatre of the grotesque of the ages in King Lear is seen as this author’s greatest work.

Shakespeare – theatre – drama.

Here and there – Iago and the dog whistle

 

Now faith is being sure of what we hope for and certain of what we do not see.

(Hebrews 11.1)

Mislike me no for my complexion

(The Merchant of Venice, 2.1.1)

My dog the Wolf might hear a whistle that I cannot hear.  The phrase ‘dog whistling’ is used in some quarters to denote a kind of coded message.  On its face, the message might seem harmless enough, but it may convey a different and more sinister meaning to a target group.  An extreme example is the use by those on the far edge of the Right of numbers or signals that represent their respect for Adolf Hitler.

In Othello, the villain employed a similar method in pursuit of three targets.  He convinced the Moor, Othello, that his wife, Desdemona, had been unfaithful with Cassio.  What techniques did Iago deploy?

Select your target

Ideally, the target will be both suggestible and vulnerable.  Just think of people chanting ‘Lock her up’ at a Trump rally.  Only real losers could be that unlovely – or trust someone as obviously devious as Trump.  Iago knew that Othello trusted him.

…..He holds me well

The better shall my purpose work on him.  (1.3.381-2)

When you have secured the trust of the target, you can exploit it – ruthlessly.  There is a whole body of law on how we might deal with those who exert ‘undue influence’ on others in breach of trust – such as lawyers, doctors or priests extracting large gifts from the dying.

Othello is suggestible because he is utterly vulnerable.  He is from out of town, and of the wrong colour and religion.  Grounds for anxiety are baked in.  Iago senses his leader’s fatal weakness.  It is a complete lack of what Keats called ‘negative capability.’

…….And when I love thee not

Chaos is come again.  (3.3.91-2)

…….to be once in doubt

Is to be resolved.  (3.3.179-180)

Othello is tip toeing around a nervous breakdown, or worse.  In Verdi’s Otello, he is often shown descending into madness.  People who cannot tolerate doubt or uncertainty are ripe for the peddlers of the fake certainty provided by fatuous slogans or catch-cries.  Trump is just the latest and most gruesome example of these snake-oil salesmen.  His ends are not as gruesome as those of Mussolini or Hitler, but the basic premise is the same – deliver relief to the people and they will hail you.  A lot of priests have worked on the same principle.

Iago senses that the brash openness of Cassio will make him an easy mark – and he knows too of Cassio’s weakness for the bottle – and skirt.  Roderigo (‘a gulled gentleman’) is a weak gutless punk, part of the flotsam and jetsam that people called ‘populists’ live off.

And if you think that Othello was a weak and suggestible fool, and therefore very dangerous because he was in a position of great power – whom does that call to mind?

At first just insinuate – do not lie outright.

Iago begins his campaign in the classic mode – as if by chance, or accident.

IAGO.  Ha!  I like not that.

OTHELLO.  What dost thou say?

IAGO.  Nothing my lord; or if – I know not what.

OTHELLO.  Was not that Cassio parted from my wife?

IAGO.  Cassio, my lord?  No.  Sure I cannot think it

That he would steal away so guilty-like

Seeing us coming.

OTHELLO.  I believe ‘twas he.

There is no outright untruth – but the victim takes up the running.  This is fundamental.  The target must think that they are the prime mover.  Once the poison has taken effect, the villain is free to scheme, lie and manufacture evidence – and create a snowball effect.

Take your time – the effect is cumulative

How poor are they that have not patience?  (2.3.370)

Maintain deniability and a false front

The whole of the critical seduction in Act 3, Scene 3 is an example of deniability.  It is why the President has someone fronting him with the press – in a system where he does not have to answer to parliament.

But I will wear my heart upon a sleeve

For daws to peck at; I am not what I am. (1.1.61-2)

Unnerve the target with ambiguous evidence or warnings about ‘evidence’

……I speak not yet of proof

Look to your wife.  (3.3.196-7)

Othello wants ‘ocular proof.’  That may sound silly, but some demanded evidence against a cardinal other than that of the victim.

Make me to see’t or at least so prove it

That the probation bear no hinge or loop

To hang a doubt on – or woe upon thy life. (361-3)

Remember always that we are talking about the unseen

…….How satisfied my lord?

Would you, the supervisor, grossly gape on?

Behold her topped?  (3.3.391-3)

Notice the descent to the gutter to drive the point home – and show that we are not just blokes, but mates.  And we are dealing with people who are notoriously devious.

In Venice they do let heaven see the pranks

They do not show their husbands…..…(3.3.202-3)

And when the target is rising to the fly, you can really tantalize him.

Or to be naked with her friend in bed

An hour or more not meaning any harm?  (4.4.3-4)

The ultimate conspiracy theory is that the less evidence there is, the deeper must go the conspiracy.  How could anyone get ocular proof of the ‘Deep State’?  And credulous people see what they want to see.

……Trifles light as air

Are to the jealous confirmations strong

As proofs of Holy Writ (3.3.319-210)

Be prepared to play the fool – or the innocent

To hide his malice, Iago tries banter with his wife in front of Desdemona (2.1.100ff) Andrew Bolt has trouble with this ploy – humour is not his strong suit –but he gives it a run occasionally.  A similar ploy underlies a lot of what Iago says to his target – ‘This hurts me more than it hurts you.’

Embroil others in your schemes

Born stirrers weave webs like spiders.  Iago spins webs around Cassio and Desdemona to assist him in his central scheme to unhinge Othello and so take revenge for a lifetime of slights.

Your ultimate aim is to reduce your target to your level

Whether acknowledged or not, this was the mode of operation of terrorists like Robespierre, Stalin or Hitler.  Their idea was to work on their victims so that the victims became complicit in their crimes and locked into their schemes.  Iago does this with Othello who looks to Iago for advice and confirmation.  His mind is so utterly splintered that even after the guilt of Iago has been shown, Othello is left to utter a lie that is as pathetic as it is outrageous.

Why anything.

An honourable murder, if you will

For naught I did in hate but all in honor.  (5.2.294-6)

Othello killed his wife because he hated her because she had dinted his sliding pride.  He simply compounds his guilt by saying that had the allegations against her been true – and he believed they were – he would have been entitled to kill her as a matter of honor.  For such men then, being cuckolded, as the saying went, was like being castrated.  Well, we don’t need Falstaff to remind us what a gaudy swine of a word ‘honor’ is.  It may be the shiftiest word in our language.

It is a matter for you to see which of these techniques are used by politicians or media – especially Fox News or Sky News after dark – in the process known as ‘dog whistling’.  One thing does seem clear.  What dog whistlers do have in common with Iago is that they give the impression that for the most part they do not believe a word they say.  Truth and loyalty are not on their agendas.  They just want to stir people up for the sake of it.  They belong to the Kingdom of Nothingness.

And if Iago was just another sour loser taking his wicked revenge for his failures in life on a creature of a different colour and faith – then we can we can see plenty of that around us here right now.  One Nation is full of them.

Is there another example of a slighted petty office holder from the ranks?  I said elsewhere:

The modern who might best stand for Iago was Adolf Hitler. He was a mean little man like Iago who never, on merit, got beyond NCO, but who aspired to more, and in his evil determination brought people down to hell and brought hell up to people.  Iago and Hitler seduced people by playing on their fears and by working in a twilight of twisted appearance and rejected reality.  Each was born a moral coward, but each was ready to accuse anyone else of being worse.  Above all, neither could be happy in the presence of anyone who could be seen to be their better.  It is a kind of small man syndrome written appalling largely.

There is a lot of that about, too.

In Billy Budd, Herman Melville looked at pure evil.  Shakespeare did not give Iago an express Credo, but Boito and Verdi did.  In part, it runs:

I believe in a cruel God

Who created me in his image

And whom I in fury name.

From the very vileness of a germ

Or an atom vile was I born.

I am a wretch because I am a man,

And I feel within me the primeval slime.

Yes!  This is my creed.

I believe with a heart as steadfast

As that of a widow in church,

And the evil I think

And that which I perform

I think and do by destiny’s decree.

There is what they called the Anti-Christ.

Coleridge caused quite a stir when he referred to ‘motiveless malignity.’  I used the word ‘malice’ above.  In The Common Law, Oliver Wendell Holmes said:

……when we call an act malicious in common speech, we mean that harm to another person was intended to come of it, and that such harm was desired for its own sake as an end in itself.

The last phrase savours of Kant, but in my view that exposition of ‘malice’ is apt for both Iago and the dog whistlers.

Here and there – The Wars of the Roses on the BBC

 

In 1964, the year of the Demons’ last flag, the BBC made a televised recording called The Wars of the Roses.  It consisted of a heavily edited version of four plays: Henry VI Parts I, 2, and 3, and Richard III.  The editing didn’t involve just cutting – new dialogue was added.  You can if you like try to spot the additions.  I couldn’t be bothered (and I suspect that my ear may be as dodgy as my palate).  The issue may in one sense be sterile, since it is unlikely that anyone will chance their arms by putting on the whole of the Henry VI trilogy in this country – they don’t try it often in England.  We get either an abridgement, or nothing.

This TV show was a huge undertaking.  The set was both massive and novel, and the cast was of the kind called ‘stellar’ in the popular press, although the producers were prepared to chance their arms.  The show was recorded over eight weeks with many stars who had been involved in a recent Stratford production of the four plays.

One object of the production was to demonstrate the relevance of many themes of the plays to modern politics.  The director, Peter Hall, said:

I became more and more fascinated by the contortions of politicians, and by the corrupting seductions experienced by anybody who wields power.  

The RSC issued a three CD set of the trilogy in 2016.  The show was shot in black and white and its grainy appearance lacks the definition of High Noon, but it is a great and historical production.

Each of the three parts is punishingly long – far too long to be taken in one hit in comfort.  When the BBC replayed the series, they did so in eleven parts.  The truth is that all four of these plays are too long, at least for Australian audiences.  Many years ago, I saw the RSC do the Full Monty on Richard III at the Barbican, and it was an ordeal for back and bum of Wagnerian dimensions

Before watching the series, you may wish to look at the supplement that has interviews with two surviving stars – David Warner (Henry VI) and Janet Suzman (Joan of Arc and Lady Anne).  Both would go on to wonderful careers, but each was hesitant at this stage, and their selection carried risk.  Warner was offered his role after three auditions.  He said he couldn’t believe it, and that he spent the first few days apologising for his selection.  It was a great choice.  His face, which is on the cover, was made to express the pain and indecision of a pious disaster.  Of his part, Kenneth Tynan would say ‘I have seen nothing more Christ-like in modern theatre.’  Either the critic had a queer view of Christ, or he missed that part where this idle fop disinherited his son so that he could hold on to power for a few years more.  (And I am a Tynan fan.)

When offered the role of Joan la Pucelle, Suzman asked who was she?  ‘Joan of Arc, you bloody idiot.’  Then she turned up on the set, and all ‘the big guns were there.’  I’m not personally familiar with how the hierarchy in the theatre manifests itself to relative novices, but I imagine you could get the kind of snakiness you may find among some barristers and test cricketers – that is, naked bitchiness.  Suzman says the editing was a corrective to a ‘biblical’ view of Shakespeare.  Her features then, and fifty years on, radiate a kind of strength – of a kind, perhaps, that the Lady Anne lacked.

One of the big guns that may have put the wind up Janet Suzman was Peggy Ashcroft.  She plays Margaret of Anjou, the queen of Henry VI, and the ‘she-wolf of France.’  She appears in every segment, and is the driving force for a lot of the action as the proud wife of an anaemic king, and the protective mother of his betrayed heir.  She starts as the young French girl who is wooed into a negotiated marriage, becomes the de facto ruler of England, and the serial killer of the enemies of her house, and ends as a savage old hag at risk of being accused of witchcraft (which they all believed in back then.)

Since the actress was fifty-six when she played this part, pulling it off would be a feat – but pull it off, she did.  Here is how a contemporary critic saw what appears to have been the original stage production.

.. the quite marvellous, fearsome performance of Dame Peggy Ashcroft as Margaret of Anjou, who skipped on to the stage, a lightfooted, ginger, sub-deb sub-bitch at about 11.35 a.m. and was last seen, a bedraggled crone with glittering eye, rambling and cussing with undiminished fury, 11 hours later, having grown before our eyes into a vexed and contumacious queen, a battle-axe and a maniac monster of rage and cruelty.. even the stoniest gaze was momentarily lowered from this gorgon.

Peggy Ashcroft said of her part as Margaret that she was:

….a Dark Lady if ever there was one – and prototype for Cressida, Cleopatra, Lady Macbeth – was Shakespeare’s first ‘heroine’ – if such she can be called… It takes four plays to make her one of the great female characters in Shakespeare – and the full-length portrait has been seen only in The Wars of the Roses cycle – but she has facets that are not touched on in any other.

Margaret’s feral growls and hideous curses could cost you some sleep.

Janet Suzman is vital and gamin, and utterly followable as Joan of Arc.  The scene where the big hitters elect to pick either a white rose (York) or a red rose (Lancaster) resembles heavy chested Harley riders.  What are they missing that makes them show of so dangerously?  In truth these magnates resemble the Mafia more than the Hell’s Angels.  And the Mafia and the feudal system both evolve out of the same disorder – the failure of central government to provide security drives people to make other arrangements.  They seek protection elsewhere.  You look after me and I will look after you.

These lords and knights have that marvellous medieval accompaniment – their ‘powers’.  Their puissance, another word much used in these times, leads others to pledge allegiance – to their liege lords.  It is I suppose the kind of thing you see in shows like House of Cards, but there is something less prosaic about ‘powers’ than poll ratings or factions or unions or think tanks or talk shows.

We are talking about chess played with extreme prejudice.  The magnates are like the knights and bishops, or even rooks, except that the rules are there to be flouted.  The concept of allegiance was at best fluid.  The followers – the powers – of the Duke of Burgundy or Lord Gloucester were as solid and reliable as the Tory ministers of Mrs Theresa May.

I will not mention all the players.  The cast includes Roy Dotrice, Brewster Mason, Eric Porter, and the others mentioned here.  The rose pickers include Donald Sinden as Richard Plantagenet, Duke of York, and William Squire as Suffolk (the wooer and lover of Margaret).  Sinden’s voice reminds me of Drambuie.  There is something about it that makes it instantly recognizable, rather like the deflated Kevin Spacey.

When I lived in South Yarra, I could walk to and from work in the east end of Collins St, about thirty-five minutes each way, and in about four months listen to all thirty-eight plays.  (It was then that I was glad that I had seen Cymbeline and Troilus and Cressida because I would not be doing so again; and Cyril Cusack’s Iago put me off Othello for life.)  I suppose I had heard A Winter’s Tale on four or five occasions, before one day, out of nowhere, on the tan, I recognized the voice of the lead – there was no doubt it was William Squire who played Hunter in nearly all the twenty or so episodes of Callan.  And in this trilogy there is also a lot of that eyebrow rolling and nasally drawled incredulity.  It is bliss for Callan fans.

Gloucester (Paul Hardwick) is the definitive politician and the unfortunate Winchester (Nicholas Selby) is played like Joel Grey in Cabaret.  Both could have walked straight out of Yes, Minister.

The Jack Cade sequence was to my mind hopelessly over the top, and too violent.  Indeed, there are many scenes of horrific violence.  We get to see what a blood feud can really look like, generation after generation.  Janet Suzman remarked on the violence, and the role of cabbages in the decapitations.  She said people were fainting all over the place.

One of my favourite scenes from this playwright is the confrontation between Queen Margaret and the Duke of York.  She taunts him about his progeny.

And where’s that valiant crookback prodigy,

 Dicky your boy, that with his grumbling voice

Was wont to cheer his dad in mutinies?

Well, we’ll get to see this Dicky in full murderous flight in the next episode, but this French-born woman steels herself not just to extinguish her womanhood, but her humanity.  She will mock not just knighthood, but fatherhood.  She rubs the nose of York into the blood of Rutland (his son) on a handkerchief.  She says she mocks him to make him mad so that she can sing and dance.  She puts a paper crown on the head of the man who would be king and says:

Ay, marry, sir, now he looks like a king

Ay, this is he who took King Henry’s chair

And this is he was his adopted heir.

But how is it that great Plantagenet

Is crowned so soon, and broke his solemn oath?

Off with the crown, and with the crown his head!

And whilst we breathe, take time to do him dead!  

 

The BBC version is not for children.  Margaret by now is oozing hate, and we start to get that old Greek feeling of whole houses being cursed.  (In the McKellen film, Annette Bening as Queen Elizabeth gave meaning to the phrase ‘Ay me!  I see the ruin of my house’ – ‘Welcome destruction, blood, and massacre’.  She was right.)  The violence was perhaps not so surprising after the assassination of Kennedy, and the beginning of the war in Vietnam.  And the Cold War was stepping up, so mutilation by a sickle in the area of the groin may have then had different significance.  We have now been exposed to so much more horror, that this level of explicitness looks as unnecessary as it is unkind.

In the final part, we see evil made manifest in Richard III played by Ian Holm.  Richard III is a master class in the kind of stunt pulled by Peisistratus that was made whole by Mussolini and perfected by Hitler.  The part as played by Ian Holm is so threatening because it is underdone.  It’s as if the producers wanted to comment on the ‘banality of evil’ that Hannah Arendt saw in Eichmann.  (He was one of those mass murderers who went to work with mass death in his brief case.)  What we are presented with here is not motiveless malignity, but wanton evil.  Most people can get hot for sex; the world must be peopled; but some people, sadly, get hot for evil.

Ian Holm was born to act.  For this role he also brings the advantages of relative youth and shortness of size.  He said:

I played Richard very much as a cog in the historical wheel, and not as an individual character. We tried very hard to get away from the Olivier/Irving image of the great Machiavellian villain.

When Richard is confronted with his bloody past, we get the kind of apologia that Fox News reserves for Donald Trump.

Look, what is done cannot now be amended.

Men shall deal unadvisedly sometimes

Which afterhours gives leisure to repent.

 

The scene where Richard confronts Anne is difficult, because it is revolting.  But we have been rudely reminded that quite revolting people – including racist morons – might appeal to people who don’t mind being revolted, or who just don’t care.  And we are also reminded of the difference between the power of sex appeal – that this king had none of – and the sex appeal of power.  When we say that power corrupts, it is not just the wielder who can be corrupted, but those who come within its thrall.  The regimes we least admire work on dragging people down to their level and then locking them into the regime by their complicity.

All that and more is on show here in this remarkable trilogy for the preservation of which we owe much thanks.

PS. May I add a note about Hunter? Callan worked for the British spooks.  He was dragooned into it, and to do dirty hit jobs, because they got to him in the Big House.  He has come up the hard way.  His only mate is a scruffy Cockney cab driver called Lonely.  Hunter is from the Establishment.  So is another agent, Toby Meares.  They are observing from afar Callan on a dangerous mission to meet a deadly Russian killer.  Hunter scowls – he’s good at that – when Meares expresses a moral qualm about the danger to Callan.

Well, then, what would you do if you were in my position, Meares?

Well, on reflection, I think I would do nothing, Sir.

In that case, I would applaud your reticence, Meares.

Oh, don’t applaud, Sir – that way your right hand might know what your left hand is doing.

 

If you watch William Squire in The Wars of the Roses – he is Buckingham at the end – you will see immediately why he was a natural for the part of Hunter – and why he continues to play a substantial part in my entertainment.  As it happens, Buckingham is one of the most vapid and watery liars the world has known.  He is the Platonic form of the kind of politician who drives the rest of us mad.

Eight hundred years on

Outlawry was a form of process, or unprocess, developed by Anglo-Saxons in the Dark Age when the notion of a judiciary was not known and when the only choice above this world was between God and Satan.  In the year of Our Lord 2015, the closest Australian advisers of Her Majesty Queen Elizabeth II – still the Supreme Governor of the Church of England but not the Empress of India – are conducting an audible debate about reintroducing a form of outlawry by depriving people of their rights as citizens of the Commonwealth without any judgment of their peers.  If they persuade the parliament and Her Majesty to make a law to that effect, they will risk going back more than 800 years and breaking a promise made by the English Crown that it would not go or send against any free man except by the lawful judgment of his peers or by the law of the land.

It took the English about seven centuries to build the rule of law and the Westminster system, with a little help from the Americans at the end.  It will take only a fraction of that time to lose both.  We have already given up two essential parts: that the executive should be run by an apolitical civil service with secure tenure, and that ministers should be responsible to the parliament for the failings of that civil service.  There has been an obvious and sustained decline in the quality of people attracted to the parliament or the executive.  That decline has not yet substantially damaged the judiciary, but there is little ground to hope that the decline will be reversed, or that the judiciary will remain untainted.

In a real sense, a lot of our legal process goes back to Magna Carta, given, it is thought, on 15 June 2015.  English philosophers have ignored it.  English legal historians and too many judges have just got it wrong, including some who should have known better.  Curiously, it is better known and better understood in places like the U S and Australia that are used to working under a written compact that separates powers and that has the force of binding and supreme law.

Magna Carta is one of the title deeds of Western civilisation, and the most significant tablet of the law in our history.  It is worth celebrating its 800th birthday.

I

Was it hot that day at Runnymede on 15 June 1215?  The barons, they say, turned up armed.  As well they may have – they were, as we say, up in arms.  They were revolting against their king.  And how they must have stunk – the king took a bath every three weeks; it is hard to see his barons being more regular.  They were a caste in transition from being rude Norman chieftains to blunt English magnates.  The courtliness that we see in courtesy was yet to be embraced by what passed for the aristocracy back then.

Feudal society involved what we would now call vertically integrated protection.  The barons (lords or peers of the realm) gave homage to their king, who gave them protection in return.  He had his courts; they had theirs.  They passed on their protection down the line to those beneath them in return for pledges of loyalty.  It was like the Mafia.  A man without a lord was in a bad place.

Doing the best that we can looking back from here, it does look like lords and vassals entered into kinds of compact or association when they gave and took promises and pledges between themselves.  We would say that there were mutual promises.  Since English kings claimed rights in Ireland and France, there was a range of peoples who might claim some right of choice about who they would give their allegiance to and accept as their lord.  We see this clearly in Shakespeare’s history plays. 

Politics then was very man to man.  There was a twelfth century aphorism ‘be in court when your friends are present and your enemies are absent.’  In his magisterial work Feudal Society, the French historian Marc Bloch had no doubt that ‘vassal homage was a genuine contract and a bilateral one.  If the lord failed to fulfil his obligations, he lost his rights’.  Among the justification for deposing a bad ‘prince’ (a king) was ‘the universally recognised right of the vassal to abandon a bad lord.’

At the heart of our notion of the rule of law – what distinguishes us from, say, Russia – is the notion that our ruler can only rule with the consent of the those who are ruled (the people) and that since everyone is equal in the eye of the law, the ruler too cannot be above the law but must be subject to it.  At least the germ of each notion is in the charter called Magna Carta, or the Great Charter of 1215, and that is why it is venerated in the U K and if anything more so in the U S and in this country.

II

There were in substance three main parties involved in making the Great Charter of 1215: King John, his barons, and Pope Innocent III.

Shakespeare saw King John as a weak and unloved king, and his press has not got any better since then.  A monastic chronicler in the 1240’s said: ‘Hell itself is defiled by the presence of King John.’  He was the last son of Henry II and Eleanor of Aquitaine, and the brother of and successor to Richard the Lionheart.  Henry II had a very long and successful reign.  He was a remarkable reforming king who may be called the English Justinian.  He was in some ways the father of the common law, but he is popularly remembered for something else that is germane to our subject.

King Henry II appointed a worldly man named Thomas Becket as Chancellor and then as Archbishop of Canterbury.  Becket had fought alongside the king and acted as ambassador to Paris.  Becket was neither a monk nor a priest, just a politician.  Henry may have completely misread him.  Dr A L Poole described Becket as ‘a vain, obstinate, and ambitious man who sought always to keep himself in the public eye; he was above all a man of extremes, a man who knew no half measures.’  That kind of person is not cut out for politics, especially if he is not too bright.

There was conflict over the unwillingness of the Church to allow the State to try clergy.  Henry laid down the law for Royal Justice in the Constitutions of Clarendon.  The Archbishop refused to roll over or toe the line – but Henry had appointed him to do just that.  Thomas was condemned by Henry’s court at Northampton on rough charges of contempt.  He turned and said: ‘Bastard lout!  If I were not a priest, my right hand would give you the lie.  As for you, one of your family has been hanged already.’

The haughty Archbishop went into exile for six years.  A political deal was put together, but when Thomas came back, he excommunicated bishops who had crowned a prince in his absence.  This was like declaring war on his king.  Knights who were zealous of the interests of the king were sent to remonstrate with Thomas.  They murdered him instead.  Politics then were more terminal as well as more personal.  It was as if Becket had wanted to die, and become a martyr.  The king did penance, but he maintained the royal line, and the English crown did not forget – Henry VIII, not necessarily in his role as Defensor Fidei (Defender of the Faith), made it illegal to call Becket a saint.

The immediate aftermath of the murder is instructive of the credulousness of the times and of the willingness of the Papacy to intervene in other nations’ business.  This vain, second-rate politician, who was not even of the cloth, was made a saint in near record time by popular demand.  In a short time an order of knights of St Thomas of Acre was instituted in the Holy Land.  Churches were dedicated to him, as were any number of miracles – and these were English miracles, God bless them!

Rome was ruthless on the English king and quite casually impeached the sovereignty of the realm.  Their king was forced to allow appeals to Rome, and he was required to provide for the support for 200 knights for a year for the ‘defence’ of Jerusalem.  He was required to take the cross for three years himself unless he was excused by the Holy Father.  This of course he was – he bought off his conscription to fight the Saracens by founding three monasteries.  These were really morbid and venal times and the Church was in up to its neck.

Well, the Church had had a kind of moral and political win, but the days of some kind of protectorate or apartheid for officers of the Church from the laws that applied to everyone else, including the king, had to be limited, and the reaction might be very nasty indeed.  It is not an issue that any church would want to run with today – arguing that priests who have been guilty of crimes against their flock should be protected by their church from the law of the land – and when in 1533, the English Parliament would in its break from Rome exultantly proclaim that ‘this realm is an empire’, it would do so in an act to restrain appeals to Rome.  The jackpot of course would come with the confiscation of the monasteries, including, one supposes, the three that Henry II donated to beat the papal draft.

King John was never in the same league as his father as a ruler.  He loved plotting, but he was not much good for anything else – except perhaps cultivating mistresses, at least a dozen, and breeding bastards.  He is thought to have procured the murder of a nephew who had claims to the throne.  His manifest untrustworthiness helped to shape our story, as did his choosing the wrong side in the fight of his life.

The barons might resemble either Mafia Dons or Jihadists, depending on your taste – whether you see the exercise as one involving terrorism is after all little more than a matter of taste.  One of their leaders, Robert fitz Walter styled himself ‘Marshall of the Army of God and Holy Church’.  The law itself was violent and relied on violence for its execution; officers of the king were liable in their bodies for the conduct of their offices. One of the 25 barons appointed under the Charter, Robert de Ros, was a marauding land rustler whose men attacked agents of the Sheriff of Yorkshire with bows and arrows.  Whatever else might be said about these barons, they were not stupid politically, and they had within them the seed of those king-breakers from hell who would humiliate the Stuarts more than four hundred years later, and lay the platform of what we know as the Westminster system.

Innocent III came from a family of the Italian nobility that produced nine popes.  As pope, he became the most powerful man in Europe.  He put down heresy or other defiance, if necessary by slaughter.  He interdicted and excommunicated kings.  He had the power of everlasting life and death over all Christendom and he did not tire of using it.  He was offended by the Saracen recapture of Jerusalem.  He launched the Fourth Crusade and his taking of Constantinople had lasting effects on world history.  He was probably harder on heretics than Muslems.  What is known as the Albigensian Crusade led to the slaughter of about 20,000 sectarian opponents.  Innocent III was not a ruler to be trifled with.  He was much tougher and stronger than King John.  It would take the English nobility much longer to get the upper hand over the Vatican.

III

Tax and overseas military service are likely sources of conflict between the crown and the people.  Frequently the two combine when the crown has to increase its taxes in order to fund a war.  John got into trouble with his barons on both counts.  King Charles I would lead his country into civil war in 1641 over his attempts to fund his armed forces.  King George III would lose the American colonies when the English parliament tried to recover the costs of a French war and colonial defence from the American colonies.  King Louis XVI of France would lose his crown and then his head after failing to get the will of the people to lift the insolvency he had led France into in backing the Americans against his old foe.  The question of foreign wars was all that more personal in the Middle Ages because a paramount duty of a feudal knight was to render military service to help his king in his wars.

The slide of King John into what we now know would become a civil war and his death may now be seen to have started with his loss of his French lands in Normandy.  He in substance deserted a campaign that he had been conducting there.  One contemporary source said that he skulked his way back to Canterbury.  He complained of the treachery of his Norman barons, and set about planning his return.

First he had to secure England.  Everyone in England over the age of twelve was required to swear an oath of fealty, and then an oath to observe a statute of common defence.  Then he invented a new tax.  (Prime Minister William Pitt would introduce a new tax many hundreds of years later solely for the emergency of dealing with Napoleon.  It was called a tax on incomes.)  John claimed a thirteenth of the wealth of his subjects.  It was like a Mormon tithe.  He tried to dress it up as a feudal ‘aid’, but this was a tax, and a hated tax.  It may have been taken with the ‘counsel’ of some barons and bishops, but they did not represent the realm.

The Thirteenth was a great success economically, but in our terms it would be seen as a direct charge on the wealth of those whose support the king needed to govern.  And it was not levied under any custom or precedent.  Looking back now, we can see what will become a familiar pattern of the dependence of the crown on wealthy subjects for money alternating with the resistance of those subjects to the crown.

In November 1213, the sheriffs were ordered to send four knights from each county to assemble at Oxford on the feast of All Saints ‘to speak with us’ – the royal plural – ‘concerning the affairs of the realm’.  Here is a king driven to call in the notables of the realm to give him counsel – and most importantly, to agree to give him money.  It is a fate that would await each of Charles I and Louis XVI, but in each of their cases, the process proved to be terminal.

The knights were to attend armed – John needed to assess his military strength.  Medieval politics were at once more personal and demonstrative – a king was only as good and strong as his results were – but here you can see the germ of a parliament and its eventual victory over the crown by achieving control of revenue.

Resistance was mounting, especially from the barons up north.  Many shires refused to account to the king.  The barons then did something very English.  They went back to look for a precedent.  They got hold of the coronation charter of Henry I way back in 1100.  They now had Stephen Langton on side.  On a high altar, all men swore an oath to go into open rebellion against King John unless he confirmed the liberties set out in that charter.  That charter had begun by bemoaning the heavy exactions that had been laid on the kingdom, but these oaths would be echoed in the Tennis Court Oath sworn by members of the National Assembly at Versailles in 1789.  Other coronation charters were included in the dossier and translated into French so that they could be understood by the barons.  This was high level PR, but if there was a deal to be cut with the king, the barons would have lots of precedents.

Then John played the Holy Land or Jerusalem card.  He agreed to take up the cross and join the crusade.  Innocent III was thrilled to bits at this display of patent piety– but he was also enraged by anyone who might stand in the way of King John – which, at the end of 1214, included a large part of the English people, and what looks to be a clear majority of those with any clout.  In a letter written after the Charter was made, Innocent said that the rebel barons were ‘undoubtedly worse than Saracens, for they are trying to depose a king, who it was particularly hoped would succour the Holy Land.’  We need not pause to inquire whether it occurred to the Holy Father that this unrepentant rat of an English king could not have given a hoot for the Holy Land.  (We know that Shakespeare had a very measured view about the motives of English kings and the Crusades.)

The most recent biography of John, by Professor Stephen Church, published this year (1215), and from which a lot the historical detail of this note is drawn, says:

It is a fundamental aspect of the politics of 1215 that each of the parties was attempting to pursue its objectives through legal means.  Neither side wished to be seen to be acting illegally, and as a result, both acted cautiously.

We need to put much more weight on the second proposition than the first.  They were after all approaching that settlement, by agreement rather than force of arms, which would found the ideas leading to what we know as the rule of law.  That result was far from inevitable, but if you think that there is an inherent impossibility in a subject lawfully rebelling against his king under arms, hold your judgment a while – because that is just what John would be driven to agree to.

Professor Church is plainly right that neither side wanted to get caught going outside the law, and he here touches on an attribute that is part of the English genius for politics – the ability to rewrite history to suit their ideas of legality, and leech the story of revolution or other violence.  It is a facility shown by a nation whose lawyers were brought up on two things – precedents and fictions.  You just had to blend the two together – seamlessly, and with a straight face.

Innocent III was not so inhibited.  He ordered the barons to desist from threatening to use arms against their king, and he directed Langton to watch his back and to settle the dispute.  The barons, and the rest of England, were under no illusion about what side the pope was on.  He now claimed to hold John’s title to England.  Any suggestion that the barons could look to the pope for independent arbitration would have been laughed at.  The pope was moving to put them outside of at least ecclesiastical law.

Remember that the barons now had sworn to act together.  This is what the law would later condemn as a combination or conspiracy, and was not dissimilar to what Lincoln and the Union faced with the Confederacy.  The pope was escalating the dispute.  The barons therefore formally repudiated their homage to their king.  They said that they owed him no obedience at all.

This was then the equivalent a party to a contract now saying – you have by your conduct repudiated our contract and shown that you will not honour it: I shall not ask the courts to hold you to your contract; rather, I shall accept your conduct as bringing our contract to an end; as a result, I no longer have any obligation to you under that contract; I am free to make whatever alternative arrangements I see fit, and to hold you accountable for any damage that I suffer in that process.  That law was at least five centuries away in the future, but people did not have to wait for that to say that you cannot hold me to my promise if you have said that you will not keep yours.

The barons enlarged their combination or confederacy by entering into a sworn association with the people of the city of London.  This is important because it suggests that the barons were not just fighting and negotiating for their own particular rights and privileges.  They would claim in the Charter itself to speak for all free men in England.  The phrase ‘class war’ is slippery at the best of times, but it might be almost completely useless in trying to assess the effect of the Great Charter.

A very dangerous stand-off led to two documents, one called the Unknown Charter and the other the Articles of the Barons.  These in part dealt with the kind of issues that arise in a truce or cease-fire – like promises of safe conduct between parties who did not trust each other at all.  One said that ‘King John concedes that he will not take a man without judgment, nor accept anything for doing justice and will not do injustice.’  Could anything be wider – or more simply breached?

Another clause said that ‘if the burden of any army occurs, more may be taken by the counsel of the barons of the kingdom.’  Well, they would have to wait until 1689 to get that locked in.  Elsewhere, John promised that he would not move against the barons while talks were going on, and that he would only proceed against them ‘by the law of our realm or by the judgment of your peers in our court.’  It looks fair to say that most of the jurisprudence of the Fourth and Fourteenth Amendments in the U S derives ultimately from wording thrashed out by warring barons and a regal rat so that they could, as the Mafia say, meet to make the peace at a meadow on neutral ground called Runnymede.

It looks like the Charter was formally agreed to by proxies on 15 June 2015, but Professor Church says that the vital giving of homage did not take place until 19 June when the king authorised the taking of oaths by the barons who were to be members of the committee that we will come to.

If there was any form of reconciliation, it did not last – on either side.  The peace was as short-lived as the compact of the peace has been long lived.

IV

The immediate problem was the continued interference by Rome.  The pope believed that everyone in England was under him.  King John, being a rat, straight away complained to this foreign potentate that he had executed the Charter under duress.  Of course he was under duress.  There was a war going on and the barons had turned up armed.  If you are a king with no standing army, and all your best soldiers are against you, your options are limited.  It is said that the papal representative, Pandulf, who takes some stick from Shakespeare, had denounced the Charter on the ground that the barons had violated its terms, but in his bull Etsi carissimus, the Holy Father took a more lofty line.

The Bull records the interdict and excommunication against King John.  It says that John had had a change of heart.  The English king had granted his kingdom – and Ireland – to the Church of Rome.  He had taken an oath of fealty to the pope, and promised a yearly tribute ‘and is making magnificent preparations to go to the aid of the Holy Land.  But Satan has stirred up the Barons of England against him.’  (The spin people would probably now advise the pope against referring to a financial ‘tribute’ – suspicious minds might sniff protection money, or just a plain bribe.)  The Bull finds as a matter of fact that the Charter was obtained by violence, and it goes on:

We refuse to overlook such shameless presumption which dishonours the Apostolic See, injures the king’s right, shames the English nation, and endangers the Crusade….Almighty God, Father, Son and Holy Ghost, and by the authority of Saints Peter and Paul His apostles, we utterly reject and condemn this settlement.  Under threat of excommunication we order that the king should not dare to observe and the barons and their associates should not insist on its being observed.  The charter with all its undertakings and guarantees we declare to be null and void of all validity forever

The barons may have provoked this reaction, not just by the security clause, which involved real money and real estate, but by the high terms that they put in their preamble –‘through the inspiration of God, for the health of our soul and the souls of all our ancestors, for the honour of God, and the exaltation of Holy Church, and for the betterment of our realm…’

We see that when the pope came to list his grievances, the first was the dishonour to the Holy See.  Then came King John’s right – then the shame to the English nation.  On the other hand, the Catholic Encyclopedia (On-line) takes no small view of the position of Innocent III.  These are obviously large issues on which opinions may vary.  ‘Innocent could not as suzerain of England allow a contract which imposed such serious obligations on his vassal to be made without his consent.  The pope therefore declared the Great Charter null and void, not because it gave too many liberties to the barons, and the people, but because it had been obtained by violence.’  And, we might add, the Charter might have impeded the violence that the Church of Christ was intent on inflicting in the Holy Land, for which the splendidly reformed King John had been making such magnificent preparations.

If we put to one side religion, a course which in this instance is both proper and safe, we are left with political issues.  In truth, we are left with the ultimate constitutional issue: who is in charge here?  A foreign power sets aside a ‘settlement’ of ‘the English nation’ – the term ‘settlement’ is that of the pope – but the English do not seem to have taken much notice of the pope.  The Charter was issued and reissued over the generations until it acquired the standing of a ‘sacred text’, and it remains on the statute books of the colonies to this day.

King John’s standing has not improved since his death shortly after these events.  The barons would hardly have posed as freedom fighters, but their struggle for the various charters probably helped secure their position in a chamber of peers in the body that would be the main instrument in reforging the constitution of England so as to repatriate the Anglican Church and embed it securely in England safe from any further foreign ecclesiastical intervention.

V

A charter may be an instrument in which the sovereign recognizes rights or one which records an agreement between people.  Magna Carta does both.  This charter settled a dispute and each side gave undertakings that were intended to be legally binding.  That is what we call a contract.  The barons swore that they ‘will faithfully observe all that has been set forth above’ and the king undertook not to ‘procure from anyone anything whereby any of these concessions and liberties may be revoked or diminished.’  That is emphatically and definitively the language of contract.

The king may have wanted to put the document forward as a unilateral grant, but here we have a document entered into to settle a dispute that contains mutual promises – and rights if one side does not keep those promises.  These are all marks of a bilateral contract.  Yet English historians and philosophers have been curiously reticent about this.  We get a grant, a treaty, a declaration of right, a constitution, England’s first statute, or forma pacis.  It might be all those things and a contract too.  But whatever label you put on it, Magna Carta is the most significant constitutional compact in history.

What did Magna Carta say?  As ever with the sources of English law, it is not what people meant, but what they said – and, just as importantly, what others in a position of authority have held as a matter of law is the legal effect of what they said.

At the risk of being tart, the real significance of the Charter was that it happened at all.  The king had had to negotiate the terms on which he held the crown.  It may not have mattered so much what those terms were – what mattered was that he had to admit that he was there on terms at all.  It would be hard to say that you rule by divine right when you settle the terms of your appointment with your magnates.  We should, however, note some parts of the text.

The barons were too smart to make themselves the only beneficiaries of their negotiations with the King.  The vindication of the Church may or may not have been a veneer, but the class of beneficiaries of the Charter is wide.

You can divide the Charter into clauses dealing with feudal grievances, trade, central government, and limitations on arbitrary power.  Churchmen, lords, tenants, and merchants are separately provided for.  The beneficiaries range from widows to the City of London to God.  Indeed, God is the first nominated beneficiary.  The first and last clauses enjoin ‘that the English Church shall be free.’  The Latin is ecclesia Anglicana.  This then meant that the English church should be left free by the English crown.  It refers back to the sad affair of Beckett.  In time, it might acquire another meaning, not free from Westminster, but from Rome.

The Charter starts off, as was customary, with greetings from the king to all parts of the civil and religious hierarchy and, finally, ‘faithful men.’  The preamble says that it is ‘for the betterment of our realm’.  Article I refers to ‘the conflict that arose between us and our barons’.  (Article 51 refers more frankly to the coming period ‘after the restoration of peace’.  The king will remove all alien knights and mercenaries ‘who have come with horses and arms to the injury of the kingdom’.)  Article 60 was necessary to give a feudal spread to the grant of liberties to the people – it stipulates that ‘all men of our kingdom, both clergy and laity, shall, insofar as concerns them, observe [these liberties] toward their men.’  In other words, the benefits and liberties granted in the Charter were to be passed down the chain.  Some astute lawyers were involved in drawing up this document, and they were not acting solely in the interests of the barons.

Article 14 is vital.  It is about money.  It provides for what is to happen ‘in order to have the common counsel of the kingdom for assessing aid.’  ‘Aid’ there is the feudal word for tax.  To get ‘counsel’ on tax, the king will summon the first two estates, the clergy and the nobility, and when that summons has been made, ‘the business of the day shall proceed according to the counsel of those who are present.’  Those two estates will in time become three, and the requirement that the king ‘have the common counsel’ will harden into a requirement that the king get a statute from his parliament, because here is part of the history of parliament.  This provision then will be the lynchpin of the whole dispensation, since he who controls the money controls the game.

While we say that Magna Carta is a constitutional settlement, it says not so much about government itself, but a lot about the rights of people, and especially the administration of justice.  This is typical in English law.  For example, Article 45 is of interest to those progressive Law Officers who think that it is a good idea to appoint as judicial officers those who do not know what they are doing.  It provides that judges shall be appointed from ‘only such men as know the laws of the kingdom and well desire to observe it.’  Article 55 deals with ‘all fines which have been made with us unjustly and contrary to the law of the land…’  How often do you see a government admitting, in writing, that it has been operating unjustly and against the law?  Article 50 is altogether more personal.  It names eight men of distinctly French sounding names, and says that we ‘will utterly remove from their offices’ the relatives of those people ‘so that henceforth they shall have no office in England.’  Au revoir, mes amis.  We will have no nepotism for those over the water.  Article 59 even extends to the king of the Scots the benefits given to the barons of England.

But the Charter is remembered and still invoked for two articles on the administration of justice.  Articles 39 and 40 are as follows:

  1. No freeman shall be captured or imprisoned or disseised [deprived of land] or outlawed or exiled or in any way destroyed, nor will we go against him, or send against him, except by the lawful judgment of his peers or by the law of the land.
  2. To none will we sell, to none will we deny or delay right or justice.

You can see the seeds of these clauses in the Unknown Charter or the Articles of the Barons, but these words were meant to be etched in stone.  They are part of our legal life blood.  You might expect to find in a prayer book the phrase ‘nor will we go against him or send against him.’  If you want to know whether the original has the same lapidary quality, Article 40 in Latin reads: Nulli vendemus, nulli negabimus, aut differemus, rectum aut justiciam.  You will see immediately that Article 40 is not limited to any class of person at all, but is as general as possible, and sets obligations by reference to both right and justice. 

Article 39 is no less than the foundation of what we call the rule of law.  If the English people had only given Article 39 to the world, they would still have our gratitude.  For example, when nearly five centuries later, the French people rose up against the arbitrary powers of the Bourbons, one of their major grievances, extending across all classes, was that a French king could lock up a Frenchman indefinitely by the simple administrative expedient of issuing a lettre de cachet.  The king could just go against or send against his subjects in his own name – and he did so by saying ‘for it is our pleasure’ (car tel est notre plaisir).  That is just the kind of government action that Article 39 expressly outlaws.  What this clause says is that liberty and property are not to be interfered with without due process of law.  The phrase ‘due process’ enters into later versions of the Charter, and ‘due process’ is the concept that underlies much of the Bill of Rights in the United States – and our administrative law.

You can test the weight of these clauses by asking this question.  Is it possible to imagine one of Vladimir Putin’s KGB henchmen uttering more than a grunt in the face of a mention of either of them before dropping off another corpse at the gates of the Kremlin?

If you are asked to look at a contract to see who was calling the shots during negotiations, you will be very interested in the default clause or the security provisions in the contract.  If you borrow money from a bank to buy a house, and you default on repayment, the bank can sell your house.  If you borrow money for a company and default on repayment, the bank may send in a receiver over the business.  Most of the time, the bank will not need to get a court order to assist it to enforce its rights.  It will just rely on the terms of the contract of loan.  That contract sets out the law that the parties have said will apply to their contract.  There are difficulties about suing kings even now – what form of security, then, did the barons get from King John in 1215?

They favoured the receiver model.  They would not need a court order.  Article 61 refers expressly to security (securitas) and it is in horrific terms that not even the most over-mighty and overbearing corporation, outside of Russia, would dare to seek now.  It provides that if the king defaults, the barons can give him a notice to remedy that default.  If he does not, a committee of twenty-five barons ‘together with the community of the entire country, shall distress and injure us in all ways possible – namely, by capturing our castles lands and possessions and in all ways that they can – until they secure redress according to their own decision, saving our person and the person of our queen, and the persons of our children.’  Well, that is fine for the royal family, but what about the poor downstairs maid when that awful Robert de Ros, neither alone nor palely loitering, comes thundering over the drawbridge, leaving his chain mail behind him, in one of his beastly marauding moods?

That clause was no doubt put to the pope as evidence of duress.  It never appeared again in later versions.  It looks uncomfortably like a licence to rebel, or a recipe for civil war.  But the English never lost their taste for being hard-nosed with royalty.  The Bill of Rights of 1689 is both more subtle and more terminal.  The people say to their king – you cannot have a standing army (except on our terms) but we have the right to bear arms – if you and we fall out, and there is a fight, guess who will win.

VI

At about this time, speaking very roundly, there may have been something in the air in Europe.  We might now refer to it as a European spring.  The Sachsenspiegel appeared in Low German in about 1220.  It offered the following release from feudalism in terms not so far removed from our present law of contract: ‘A man may resist his king and judge when he acts contrary to law and may even help to make war on him…Thereby, he does not violate the duty of fealty.’  Hungary produced a Golden Bull in 1222 that said ‘no noble was to be taken or destroyed for the favour of any powerful lord unless he had first been summoned and convicted by judicial process.’  The effect of the due process clause in the Great Charter is obvious.  The default clause conferred ‘authority to resist and contradict us…without taint of infidelity.’  In the Spanish Privilegio de la Union, of 1287, the Crown pledged its good behaviour by surrendering castles and acknowledging that the people could choose another king if the incumbent contravened the privileges.  You can find similar themes in the Assizes of the Kingdom of Jerusalem, the privilege of the Brandenburg nobles, the Brabantine Charter of Cortenberg, the Statute of Dauphine, and the Declaration of the Communes of Languedoc (1356).

The theme was constant.  People were searching after an agreement that could bind their rulers.  Yet these efforts just petered out on the Continent.  Only in England did the quest take root and go on.  Why is this?

You cannot try to make a constitution in a vacuum.  You need at least two things – a body of existing law that commands the assent if not the respect of a majority of the people; and a body of judges to interpret and enforce those laws.  It looks like only England had those qualifications for a long time.  Remember that England was developing the first profession outside the church.  It was this profession – including the judges in that term – that would celebrate and nurture Magna Carta so that it would become ‘with all its faults a kind of sacred text, the nearest approach to an irrepealable fundamental statute that England has ever had.’  The reference to sacred text from the sober legal historian Maitland tells us something.  In order effectively to nurture a constitution, you need some kind of faith based on experience.  We call it tradition.

Less than a hundred years after the Great Charter, a man called Bracton published the second text-book on English law,  It was called On the Laws and Customs of England.  You can still buy brand new prints of the four volumes in a testament to American scholarship.  Maitland thought it was the ‘crown and flower of English jurisprudence.’  Its most famous line, in English, is: ‘The king is below no man, but he is below God and the law; the law makes the king; the king is bound to obey the law.’  It would take hundreds of years to nail that credo down, but it comes from the Great Charter, since, as Maitland also said, ‘in brief it means this, that the king is and shall be below the law.’

Straight after the line quoted, Bracton went on to say: ‘Let him therefore bestow upon the law what the law bestows upon him, namely rule and power, where rex rules rather than lex.  Since the king is the vicar of God, and that he is under the law appears clearly in the analogy of Jesus Christ, whose vicegerent on earth he is…’  You do not often see God being invoked to diminish the standing of kings.

When lawyers later referred to the Charter, which they did often, they stoutly adhered to the fiction that it had not said anything new, but had only restated ancient liberties.  If nothing else, the Charter made clear that the future of English law was with royal justice and that therefore there would be a law common to the entire nation.  By that quirk of history, King John continued the work of the great Henry II.

VII

We have seen the seeds of the idea of parliamentary control of revenue in the Charter, especially Article 14, and in the documents leading up to it.  Magna Carta looked forwards in at least two other ways.

First, we saw the intervention of a foreign power – the papacy – in the affairs of England in ways that now look to us to be fantastic.  This suited the weak King John who could change sides just like that, and form and renege on alliances at will.  But one day there would come a strong and arrogant English king who would not be pushed around.  If the pope got in his way on an issue of national importance – such as the succession to the throne – the whole edifice could easily come crashing down.  This is just what happened with Henry VIII and his divorce.  His pope had a conflict of interest, and could not oblige the English king with the divorce that he needed to secure the succession.  And by that time, the English parliament was secure enough to legislate for Home Rule for England and the constitution of that nation and its national church.  The revolution had next to nothing to do with religion.  It was about self-government and its effects have been sadly underestimated by legal historians.  Just look at those nations in Europe that did not nationalise their church or cut free from Rome.

By the time that Shakespeare wrote King John, the conflict between the English crown and the Church of Rome had been resolved, adversely to Rome.  Shakespeare put into the mouth of King John the following rebuff to the Pope.

What earthy name to interrogatories

Can test the free breath of a sacred King?

….

Tell him this tale, and from the mouth of England

Add thus much more that no Italian priest

shall tide or toll in our dominions:

But as we, under Heaven, are supreme head.

So, under him, that great supremacy. (3.1, 74-83)

Those words can still get a frisson from an English audience, although, in fairness to the author, he was very generous in a later play in his treatment of the first innocent victim of Henry VIII, Catherine of Aragon – and if John had had the force of character of Henry, as well his downright nastiness, the constitution may have taken much longer to take shape.  The reference to ‘supremacy’ takes us to the act that declared ‘this realm is an empire’ – it could have no superior on earth.

The second way that our story looks forward is this.  Tucked away in the wording of the security clause is an expression that contains the germ of another idea, and which shows how universal was the liberation extended by the Charter.  The right of entry is given to a committee of barons ‘together with the commune (or community) of the entire country’ (cum communia totius terrae).  Communis is a very, very potent term here (as would be communio in a church).  When the French monarchy was brought down in and after 1789, the government of the country for a large part came to rest with the commune of Paris, especially after the 10 August coup of Danton.  The revolutions that shook the great cities of Europe in 1848 were centred in the communes.  A movement in favour of revolutionary change across the entire world to free the masses of their chains, which would cause so much misery in the twentieth century, was called the Communist Party after these communes.  Yet here we have English barons giving these communal rights to the yeomen and all the freemen of England way back in 1215.  It was many centuries ahead of its time.

We saw that at a critical phase, the barons swore an oath with citizens of London.  Town and country agreed not to make a separate peace.  Here we see the burgers – later, the bourgeoisie – coming together with an oath of mutual support.  The communal oath of the burgesses in France at this time put Marc Bloch at his most lyrical.

It was sworn association thus created which in France was given the literal name of commune.  No word ever evoked more passionate emotions.  The rallying cry of the bourgeoisie in the time of revolt, the call for help of the burgess in peril, it awakened in what were previously the only ruling classes prolonged echoes of hatred….The distinctive feature of the communal oath, on the other hand, was that it united equals…..It was there in the commune that the really revolutionary ferment was to be seen, with its violent hostility to a stratified society.  Certainly these primitive urban groups were in no sense democratic.  The ‘greater bourgeois’, who were their real founders and whom the lesser bourgeois were not always eager to follow, were often in their treatment of the poor hard masters and merciless creditors.  But by substituting for the promise of obedience, paid for by protection, the promise of mutual aid, they contributed to the social life of Europe a new element, profoundly alien to the feudal spirit properly so called.

These are indeed swelling themes, and it may be that this very great French historian of the medieval world touched here on the essence of the French Revolution – taking away obedience to superiors bought with protection and putting in its place the promises of mutual aid exchanged between equals.  The problem was that trying to fuse the movements of a millennium into one generation produced a fission that still endures.

VIII

On Bastille Day, 1940, France was falling and England was facing destruction, a worse destruction than that of 1066.  The main adviser or minister to the King of England – the leading man in what had come to be called the Parliament – addressed the English nation.  During his speech, the English leader – he was by then called Prime Minister and his name was Winston Churchill – said:

Here in this strong City of Refuge which enshrines the title-deeds of human progress and is of deep consequence to Christian civilization ….This is no war of chieftains or princes, of dynasties or national ambition; it is a war of peoples and causes…This is a War of the Unknown Warriors.

The Great Charter is one of those title-deeds.  It is up there with, and it prefigures, the American Declaration of Independence and the French Declaration of the Rights of Man.  It was an essential part of a progress that would, against the odds, enable England to defeat the enemy it then faced, Adolf Hitler and the Third Reich.  More importantly, because of that progress, England never produced a Hitler.  You cannot allow someone to be above the law when you have signed up on the principle that we are all under the law – and we are still groping after the idea that we should all be equal in the eyes of that law.  Equality looks to be as far away as ever.