Shakespeare's Navarre
Keri Posenauer '04
William
Shakespeare incorporated the setting and characters of King Henry
of Navarre's court into his play Love's Labour's Lost. The text parallels this historical figure accurately,
with Shakespeare adding a few twists and turns along the way. Learning why he chose this individual is apparent
by the end of the play. King
Henry had all of the qualifications that one would want in a king,
and not only that, but his court was full of intrigue.
Deception, adultery, loyalty, gossiping, and countless other
characteristics dominated his court and made for some very interesting
situations. It was because
of this atmosphere where anything and everything could happen, along
with the prosperous region of France, that Shakespeare decided on
the setting and characters of his play.
King Henry of Navarre became King Henry of France in
August of 1589. In his fifteen-year reign, he was deemed a
protector of the Protestant churches (Baird II: 179), and was considered
a courageous, humane, and merciful soldier and king (Baird II: 223).
He even set up schools for Protestant children, so they could receive
the same education as Catholics (Baird II: 477).
He was one of the greatest kings that France would ever have. It was even said that posterity never remembered a more deserving
French king who was more cherished by his people (Baird II: 489). It is no wonder, then, why Shakespeare would
have modeled the play's main character after this man.
At this time, King Henry was just the ruler of Navarre,
a large region in Southern France.
Henry lived adjacent to the French palace until he found himself
out of favor with the court. He then escaped to the capital city of his
kingdom, Nérac. In August of 1578, the Queen of Navarre, his
wife Marguerite, and her mother, the Queen of France, traveled to
Navarre with each of their courts containing over 300 men and women
each (Chamberlin 202). However,
it was not until two months later, in early October, that this magnificent
procession finally reached its destination (Chamberlin 203).
Henry refused to see Marguerite at first, but at last consented
at the advice of his counselors and friends (Pearson 27). He knew that much could be accomplished if they did meet and discuss
the question of Marguerite's dowry lands and their private affairs
concerning the public (Baird I: 186).
Henry greeted his wife enthusiastically as his court looked
on, and acted as if they had come just for his enjoyment (Chamberlin
204). Marguerite wanted a secure hold of her dowry
lands, which were finally given to her by Henry. A mutual agreement was also made between them concerning their romantic
affairs; they would ignore the other's, so long as Marguerite kept
her’s discrete and away from the public (Pearson 27).
In Love's Labour's Lost, the Princess announces
that she wants a conference with King Ferdinand upon her arrival in
Navarre, as she comes to him on business of the state (Shakespeare
2.1.32, Huston 39). The French
ladies seem to be annoyed at the fact that they have come all this
way to reach an agreement about the settlement of land, and they are
not even allowed to enter the court because of the vows (Ornstein
36). Just as King Henry contemplated
over whether or not to see the French princess when she arrived, so
does King Ferdinand. His friends
urge him to see the princess, trying to justify the meeting by any
means possible, as they have just taken vows forbidding the king to
do so. After finally agreeing
to meet with her, King Ferdinand and the Princess discuss a land matter
in France, as Henry and Marguerite did in actuality.
When Marguerite visited King Henry, it was said that
Nérac "...was given up to one long, romantic dalliance"
(Chamberlin 205). Navarre's King and Queen had their own romantic affairs, and their
courtiers followed suit (Chamberlin 206). The entire two years or more that the queen was in Navarre, the
court was composed of nothing but lovesick courtiers and romantic
mistresses. King Henry was especially said to be "fickle
in love" and would keep numerous mistresses at one time (Baird
II: 491). This alone might
shed some insight into Love's
Labour's Lost, as Ferdinand was modeled after King Henry.
This could mean that the French princess was correct in claiming
that the men would woo anyone, as it was apparent in the scene where
they switched places on the men and they did not realize it.
Maybe the couples needed to have a year to collect their thoughts
about each other. This way,
they would know that their relationships were not just of the moment,
and they would not be fickle about their love for one another.
In Shakespeare's Navarre, passion triumphs over promises,
as its inhabitants cannot deny the flesh (Ornstein 36).
The men make vows that are quickly thrown aside with the arrival
of the French ladies. This
makes one think about how quickly the promises to the ladies might
be thrown aside with the arrival of other women after they leave and
go back to France. The women were not treated as individuals, but
just as objects to be won in love (Huston 55).
King Henry did this often, as he used women and then cast them
aside when he tired of them. It is possible that the men in the play are
doing the same things with the ladies of France. For example, King Ferdinand and his men did not get to spend any
time alone with the ladies and the couples did not get to know each
other very well, yet they still professed their undying love. This does not make much sense except if one looks at the fact that
they are probably not in love like they say and are just trying manipulate
the women to get what they want.
Navarre's academy in Love's
Labour's Lost was a noble idea for the moment, but was discarded
due to the fact that it was a hindrance to the couples getting together.
According to the text, it was King Ferdinand who wanted to
make Navarre a "...wonder of the world" of which the French
ladies became the teachers (Shakespeare 1.1.12, 4.3.349-50).
However, history maintains that it was actually Marguerite,
and not King Henry who made the palace at Nérac remarkable.
She planted beautiful gardens, assembled a library, encouraged
the fine arts, and created a truly intellectual atmosphere (Chamberlin
209). This atmosphere was probably the reason that
Shakespeare chose Navarre for the setting of his philosophical academy.
Not only are the two kings parallel to each other, but
also even more so are the similarities of the two princesses.
Both Marguerite and the Princess were French royalty and both
were said to be "dazzlingly beautiful, [and] witty" (Chamberlin
209). Shakespeare describes the Princess as being
a lady of grace and majesty, which are almost the exact words in which
a courtier described his queen, Marguerite (Shakespeare 1.1.134). Just as the Princess came with her ladies-in-waiting,
so did the Queen of Navarre. She called them her "Flying Squadron" and it was composed
of attractive, charming, and yet often deceptive and seductive women,
whose reputations of being wellborn and proper were known all throughout
Europe (Chamberlin 210). This
may shed some light on the ladies with whom the French princess was
traveling. They all seemed attractive and charming, but
one wonders if the other traits would have soon become evident if
the French assembly were not forced to leave so abruptly.
Biron is yet another one of the characters who corresponds
to an actual historical figure. He
was Marshal of the Artillery and was said to be one of the best officers
in all of France (Pearson 38), though he had to be bribed into loyal
to Henry (Pearson 60). King Henry and Biron fought side by side in
almost every battle and were usually victorious in the end, but Biron's
loyalty was still questioned throughout his service in the military
(Pearson 62). One might notice
that in Shakespeare's text it is Biron who is the most hesitant to
sign and vow to study at the academy.
Knowing the issue of loyalty was a problem for the real Marshal
could possibly make one take a closer look at King Ferdinand's Biron.
It may be that Shakespeare needed someone to question the academy
and all of the rules that went along with it, or maybe he wanted a
character that would stand out among King Ferdinand's men.
Whatever the case, Biron is set apart as being more reluctant
to conform to everyone else.
I have learned much about Love's
Labour's Lost through my research of the actual historical figures
on which the play is modeled after.
One can see that not only did he choose the historical setting
of Navarre due to its beauty and magnificence, but also because the
events that actually took place there were fascinating to those in
Elizabethan England. Navarre's
court was intriguing with all of its irresistible and attractive courtiers.
Shakespeare's court of Navarre became this way as well upon
the arrival of the French ladies. Knowing about these historical figures
has greatly increased my ability to understand the play and what Shakespeare
was trying to accomplish by putting it in the setting that he did.
Shakespeare created such a resemblance between the characters
and events in Love's Labour's Lost and those in King
Henry's court of Navarre that knowing what happened in one court is
like knowing what happened in the other.
Works
Cited
Baird,
Henry M. The Huguenots and Henry of Navarre. Vol. I. New York:
Charles
Scribner’s Sons, 1903.
Baird,
Henry M. The Huguenots and Henry of Navarre. Vol. II. New York:
Charles Scribner’s Sons, 1903.
Chamberlin,
E.R. Marguerite of Navarre. New York: Dial Press, 1974.
Shakespeare,
William. The Norton Shakespeare.
Ed. Stephen Greenblatt. New York:
W. W. Norton, 1997.
Huston,
J. Dennis. Shakespeare’s Comedies of Play. New York:
Columbia UP, 1981.
Ornstein,
Robert. Shakespeare’s Comedies. Newark: University of
Delaware, 1986.
Pearson,
Hesketh. Henry of Navarre: The King Who Dared. New York: Harper,
1963.
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