infection and the hand of war – the seas shelter Britain from foreign aggression and disease. Shakespeare’s audience would have been mindful that stormy seas had helped save the nation from the Spanish Armada in 1588, and that each new wave of bubonic plague, the most recent in 1593–4, landed on England’s shore only when ship-borne disease managed to breach the watery barrier of the English Channel
|
Methinks I am a prophet new inspired And thus expiring do foretell of him: His rash fierce blaze of riot cannot last, For violent fires soon burn out themselves; Small showers last long, but sudden storms are short; He tires betimes that spurs too fast betimes; With eager feeding food doth choke the feeder: Light vanity, insatiate cormorant, Consuming means, soon preys upon itself. This royal throne of kings, this scepter’d isle, Ah, would the scandal vanish with my life, |
expiring, dying, and also exhaling. Gaunt is playing on ‘inspired’ in the previous line, which has both a physical connotation (the act of breathing), which extends the scene’s emphasis on breath, and a theological one (the infusing of the prophet with God’s spirit)
With eager feeding – one who feeds too eagerly Light . . . itself — Frivolous indulgence, Gaunt’s England has four main characteristics: (1) it is royal: both a nation invested with regal authority (a ‘sceptered isle’) and a fertile birthplace of monarchs; (2) it is blessed by God and Nature in its Edenic fertility, internal peacefulness, and fortress-like geography; (3) it is a divine, warrior nation, led by its kings and dedicated to the prosecution of holy wars outside its own borders; and (4) it is famous, arousing both envy and admiration in other lands. earth of majesty (a) majestical land; (b) place and birthplace of monarchs, a sense that anticipates ‘this teeming womb of royal kings’ and connects with the numerous images of earthly fertility that culminate in the ‘garden scene’. seat of Mars residence of the god of war demi-paradise Not ‘half-paradise’, but
|