What did thy song bode, lady?
Hark, canst thou hear me? I will play the swan,
And die in music. [Singing] Willow, willow, willow.[179]
More cheerful is the use of the legend by Portia when Bassanio stands before the caskets, and she, deeply interested in the result, commands
Let music sound while he doth make his choice;
Then, if he lose, he makes a swan-like end,
Fading in music.[180]
The Turkey-cock and Peacock
The TURKEY-COCK, introduced into Europe from the New World in the early part of the sixteenth century, had become quite naturalised in the farm-yards of England by the time of Elizabeth. It is several times alluded to by Shakespeare, sometimes as a symbol of conceited ostentation, and also as an article of food. When in King Henry V. Gower sees Pistol approaching, he exclaims to Fluellen “Here he comes, swelling like a turkey-cock,” to which the Welshman, who had resolved to make the braggart eat the leek, replies, “’Tis no matter for his swellings nor his turkey-cocks.”[181] Not less appropriately is the comparison used of Malvolio, who, as Maria said, had been “yonder i’ the sun practising behaviour to his own shadow this half hour.” As the three concealed onlookers watch him strutting down the walk, talking to himself, they can scarcely restrain themselves. Fabian entreats silence:
O, peace! Contemplation makes a rare turkey-cock of him: how he jets under his advanced plumes.[182]