Flattery, loyalty – and treason (1.1.25-34) #KingedUnkinged

RICHARD                    We thank you both—yet one but flatters us,

As well appeareth by the cause you come,

Namely, to appeal each other of high treason.

Cousin of Hereford, what dost thou object

Against the Duke of Norfolk, Thomas Mowbray?

BOLINGBROKE          First, heaven be the record to my speech:

In the devotion of a subject’s love,

Tend’ring the precious safety of my prince

And free from other misbegotten hate,

Come I appellant to this princely presence. (1.1.25-34)

And the implication is, perhaps, I don’t believe either of you, your fine words and apparently heartfelt, sincere protestations of loyalty and affection. One of you is only flattering me (us), rather than telling the truth – and flattery is a loaded word, in this play and in general. Flatterers tell the prince what he wants to hear, rather than offering good counsel, as loyal courtiers and subjects should. The question of who Richard listens to, whether wise counsellors or favourites and flatterers, is going to become central. Here, though, he’s being smart and quite severe: in the circumstances, I can’t believe either of you, given that you’re here to accuse each other of high treason. So, to the matter in hand, turning first to Bolingbroke; his close kinship is emphasized (cousin of Hereford), but Mowbray is given the full weight of his title, Duke of Norfolk. So far, so formal and correct.

Bolingbroke has the right vibe, devout, sincere, loyal. I swear by heaven that I’m telling the truth. I’m your loyal, loving subject. All I care about is the precious safety of my prince—no hidden agenda or private vendetta; no sly ulterior motive, and none of that inveterate malice. I have your best interests at heart: this is about loyalty and love, not hate. That’s why I have come, appellant (the formal, legal term) to this princely presence, to you, my lord, the guarantor and dispenser of justice. (Bolingbroke is very good at reflecting back Richard’s own language, and so affirming the terms of the king’s self-image. He knows what makes him tick…)

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  1. Doesn’t this scene reverberate with its contrast to the opening scene of Lear? There, too, we have a king with a counselor surrounded by flatterers, but that king is old, not young, and cannot (refuses to?) understand the need to distinguish flattery from truth. Lear, unlike Richard, “drinks up this monarchs plague this flattery” (S. 114).

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