King Leir Leir: M Author Anonymous Textual Editor Andrew Griffin Conversion and Remediation LEMDO Team Queen’s Men Editions QME

The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); Andrew Griffin, General Editor (Text; until 2026); and Janelle Jenstad, General Editor (Text; 2026–)

 Social Sciences and Humanities Research Council of Canada McMaster University Poculi Ludique Societas University of Waterloo University of Toronto Centre for Drama, Theatre & Performance Studies University of Victoria Friends of the ISE

Released with Queen’s Men Editions 2.0

 University of Victoria on the Linked Early Modern Drama Online Platform

Intellectual copyright in this edition is held by the editor, Andrew Griffin. The XML files of the semi-diplomatic transcription and the modern texts are licensed for reuse under a CC BY-NC-SA 4.0 license, which means that they are freely downloadable without permission under the following conditions: (1) credit must be given to the editor, QME, and LEMDO in any subsequent use of the files and/or data; (2) derivatives (e.g., adapted scripts for performance) must be shared under the same CC BY-NC-SA 4.0 license; and (3) commercial uses are not permitted without the knowledge and consent of QME, the editor, and LEMDO.

Production photographs and videos on this site may not be downloaded. They appear freely on this site with the permission of the actors and the ACTRA union. They may be used within the context of university courses, within the classroom, and for reference within research contexts, including conferences, when credit is given to the producing company and to the actors. Commercial use of videos and photographs is forbidden.

Queen’s Men Editions

This modern text was prepared by Andrew Griffin. First published in the QME 1.0 anthology on the ISE platform. Converted to TEI-XML and remediated by the LEMDO Team for republication in the QME 2.0 anthology on the LEMDO platform

The true chronicle history of King Leir, and his three daughters, Gonorill, Ragan, and Cordella. London: John Wright, 1605. STC 15343. ESTC S111094. Steevens, George, ed. The True Chronicle History of King Leir and his Three Daughters. Twenty of the Plays of Shakespeare: Being the Whole Number Printed in Quarto During his life-time, or before the Restoration. Vol. 4. London: J. and R. Tonson, 1766. 2K5r–2P8r. ESTC T140378. Lee, Sidney, ed. The Chronicle History of King Leir. Chatto & Windus, 1909. Michie, Donald, ed. A Critical Edition of the True Chronicle History of King Leir and His Three Daughters, Gonorill, Ragan and Cordella. Taylor & Francis, 1991. Stern, Tiffany, ed. The Chronicle History of King Leir. Nick Hern Books, 2002. This edition, edited by Andrew Griffin.

Leir Leir Skalliger Skalliger A Nobleman A Nobleman Perillus Perillus Gonorill, daughter of Leir Gonorill Ragan, daughter of Leir Ragan Cordella, daughter of Leir Cordella Gallia Gallia Mumford Mumford Noblemen Noblemen Cornwall Cornwall Servant 1 Servant 1 Cambria Cambria Servant 2 Servant 2 Messenger Messenger Ambassador Ambassador First Mariner First Mariner Second Mariner Second Mariner 1 Captain 1 Captain First Watchman First Watchman Second Watchman Second Watchman 2 Captain 2 Captain

Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines

Edited according to the ISE Editorial Guidelines

 Document Types All documents in LEMDO are either born-digital documents or primary documents. Within those two general categories, LEMDO offers additional ways to categorize a file. Primary Source Primary source documents. Use this top-level category only for supplementary texts, usually in combination with the editorial treatment letmixed. Primary Source Text Edited primary source texts. Modernized texts and semi-diplomatic texts must have this value. Not to be used for supplementary texts. Types of Literary Work Types of Literary Work Play Dramatic text, semi-diplomatic or modernized. Editorial Treatments Distinct approaches to textual editing used by LEMDO editors Modernized Texts that have been modernized according to a set of editorial principles. Document History Various sources from which born-digital texts have made their way into the LEMDO collection. Original Source: IML This TEI file was created based on one or more files from the Internet Shakespeare Editions anthology, originally encoded in ISE Markup Language (a custom markup language somewhat resembling SGML). Responsibilities Responsibilities Author MARC Code List for Relators definition: A person, family, or organization responsible for creating a work that is primarily textual in content, regardless of media type (e.g., printed text, spoken word, electronic text, tactile text) or genre (e.g., poems, novels, screenplays, blogs). Use also for persons, etc., creating a new work by paraphrasing, rewriting, or adapting works by another creator such that the modification has substantially changed the nature and content of the original or changed the medium of expression. LEMDO uses the term author in two contexts: (1) to indicate the author of a primary work or document (such as Hamlet), and (2) to indicate the author of a secondary text (such as the Critical Introduction to <title level="m">Hamlet, by David Bevington). Markup Editor MARC Code List for Relators definition: A person or organization performing the coding of SGML, HTML, or XML markup of metadata, text, etc. LEMDO uses this term for someone who encodes a file, remediates a converted text, or reviews the XML markup of a file. Textual Editor This term is for use in project-level or edition-level credits if an anthology’s organizational structure includes this role. The term textual editor appears in the file-level metadata for documents produced before 2017. From 2017 on, this term is reserved for project-level credits. Do not use at the file level; if a textual editor performs a specific function with respect to a file, use the precise resp value for their work. font-style: italic; Published file. Added link to ISE Editorial Guidelines. merged incorrectly split speeches, renumbered speeches. Updated metadata Tidied metadata. Added details to the character list for GRIF1 to check. Retagged some who attributes. Changed TLNs to WLNs and then commented them out. Added docType and workType. Numbered speeches. Added supplied tag Remediated. Created TEI from IML file. Peer review arranged by QME Editorial Board Don Allison Don Allison

Don Allison was an actor with Shakespeare and the Queen’s Men Project. He played King Henry and Voice of the Brazen Head in Friar Bacon and Friar Bungay (2006) and King Henry and Charles VI in Famous Victories (2006).

 Michael Best Michael Best

Michael Best is Professor Emeritus at the University of Victoria, BC. He founded the Internet Shakespeare Editions in 1996, and was Coordinating Editor until 2017, contributing two editions to the ISE: King John and King Lear (the latter also available in print from Broadview Press). In print, he has published editions of works of Elizabethan magic and huswifery, a collection of letters from the Australian goldfields, and Shakespeare on the Art of Love (2008). He contributed regular columns for the Shakespeare Newsletter on Electronic Shakespeares, and has written many articles and chapters for both print and online books and journals, principally on questions raised by the new medium in the editing and publication of texts. He has delivered papers and plenary lectures on electronic media and the Internet Shakespeare Editions at conferences in Canada, the USA, the UK, Spain, Australia, and Japan.

 Phillip Borg Phillip Borg

Phillip Borg was an actor with Shakespeare and the Queen’s Men Project. He played Thomas, Lambert, Constable, and Spirit in Friar Bacon and Friar Bungay (2006) and Lord Mayor, Porter, Captain, Third French Soldier, English Soldier, and French Secretary in Famous Victories (2006).

 Peter Cockett Peter Cockett

Peter Cockett is an associate professor in the iArts (Integrated Arts) program at McMaster University. He is the co-editor, with Melinda Gough, of Engendering the Stage in the Age of Shakespeare and Beyond (University of Toronto Press, 2025) which publishes the findings of their 2018 Performance as Research (PaR) workshop at the Stratford Festival Lab. He is the general editor (performance), and technical co-ordinating editor of Queen’s Men Editions. His PaR directing credits include King Leir, The Famous Victories of Henry V, and Friar Bacon and Friar Bungay (2006), Clyomon and Clamydes (2010), and Three Ladies of London (2015) for the Shakespeare and the Queen’s Men project (SQM). The process behind the 2006 productions is documented in depth on the project website Performing the Queen’s Men. For the PLS, the University of Toronto’s Medieval and Renaissance Players, he has directed the Digby Mary Magdalene (2003) and the double bill of George Peele’s The Old Wives Tale and the Chester Antichrist (2004). He also directed An Experiment in Elizabethan Comedy (2005) for the SQM project and Inside Out: The Persistence of Allegory (2008) in collaboration with Alan Dessen. Peter is a professional actor and director with numerous stage and screen credits. He can be contacted at cockett@mcmaster.ca.

 Julian DeZotti Julian DeZotti

Julian DeZotti was an actor with Shakespeare and the Queen’s Men Project. He played Margaret in Friar Bacon and Friar Bungay (2006) and Lawrence Costermonger, Clerk, First French Soldier, and Katherine of France in Famous Victories (2006).

 Tracey El Hajj Tracey El Hajj

Junior Programmer 2019–2020. Research Associate 2020–2021. Tracey received her PhD from the Department of English at the University of Victoria in the field of Science and Technology Studies. Her research focuses on the algorhythmics of networked communications. She was a 2019–2020 President’s Fellow in Research-Enriched Teaching at UVic, where she taught an advanced course on Artificial Intelligence and Everyday Life. Tracey was also a member of the Map of Early Modern London team, between 2018 and 2021. Between 2020 and 2021, she was a fellow in residence at the Praxis Studio for Comparative Media Studies, where she investigated the relationships between artificial intelligence, creativity, health, and justice. As of July 2021, Tracey has moved into the alt-ac world for a term position, while also teaching in the English Department at the University of Victoria.

 Mahayla Galliford Mahayla Galliford

Project Manager, 2025-present; Assistant Project Manager, 2024-2025; Research Assistant, 2021-present. Mahayla Galliford (she/her) graduated from the University of Victoria with a BA (honours with distinction) in 2024, and an MA English in 2026. Mahayla’s undergraduate research explored early modern stage directions and civic water pageantry. Her SSHRC-funded MA thesis project focuses on transcribing, editing, and encoding early modern girls’ manuscripts, specifically Lady Rachel Fane’s May Masque in collaboration with LEMDO.

 Derek Genova Derek Genova

Derek Genova was an actor with Shakespeare and the Queen’s Men Project. He played Eleanor, 1 Scholar, Hostess, and Post in Friar Bacon and Friar Bungay (2006) and Tom, Boy, Dauphin, Second French Soldier in Famous Victories (2006).

 Jason Gray Jason Gray

Jason Gray was an actor with Shakespeare and the Queen’s Men Project. He played Friar Bacon in Friar Bacon and Friar Bungay (2006) and John Cobbler, Bruges, and Captain in Famous Victories (2006).

 Andrew Griffin Andrew Griffin

Andrew Griffin is an associate professor in the department of English and an affiliate professor in the department of Theater and Dance at the University of California, Santa Barbara. He is general editor (text) of Queen’s Men Editions. He studies early modern drama and early modern historiography while serving as the lead editor at the EMC Imprint. He has co-edited with Helen Ostovich and Holger Schott Syme Locating the Queen’s Men (2009) and has co-edited The Making of a Broadside Ballad (2016) with Patricia Fumerton and Carl Stahmer. His monograph, Untimely Deaths in Renaissance Drama: Biography, History, Catastrophe, was published with the University of Toronto Press in 2019. He is editor of the anonymous The Chronicle History of King Leir (Queen’s Men Editions, 2011). He can be contacted at griffin@english.ucsb.edu.

 Martin Holmes Martin Holmes

Martin Holmes has worked as a developer in the UVic’s Humanities Computing and Media Centre for over two decades, and has been involved with dozens of Digital Humanities projects. He has served on the TEI Technical Council and as Managing Editor of the Journal of the TEI. He took over from Joey Takeda as lead developer on LEMDO in 2020. He is a collaborator on the SSHRC Partnership Grant led by Janelle Jenstad.

 Paul Hopkins Paul Hopkins

Paul Hopkins was an actor with Shakespeare and the Queen’s Men Project. He played Prince Edward and Other Clowns in Friar Bacon and Friar Bungay (2006) and Prince Henry in Famous Victories (2006).

 Navarra Houldin Navarra Houldin

Training and Documentation Lead 2025–present. LEMDO project manager 2022–2025. Textual remediator 2021–present. Navarra Houldin (they/them) completed their BA with a major in history and minor in Spanish at the University of Victoria in 2022. Their primary research was on gender and sexuality in early modern Europe and Latin America. They are continuing their education through an MA program in Gender and Social Justice Studies at the University of Alberta where they will specialize in Digital Humanities.

 Janelle Jenstad Janelle Jenstad

Janelle Jenstad is a Professor of English at the University of Victoria, Director of The Map of Early Modern London, and Director of Linked Early Modern Drama Online. With Jennifer Roberts-Smith and Mark Beatrice Kaethler, she co-edited Shakespeare’s Language in Digital Media: Old Words, New Tools (Routledge). She has edited John Stow’s A Survey of London (1598 text) for MoEML and is currently editing The Merchant of Venice (with Stephen Wittek) and Heywood’s 2 If You Know Not Me You Know Nobody for DRE. Her articles have appeared in Digital Humanities Quarterly, Elizabethan Theatre, Early Modern Literary Studies, Shakespeare Bulletin, Renaissance and Reformation, and The Journal of Medieval and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives (MLA); Institutional Culture in Early Modern England (Brill); Shakespeare, Language, and the Stage (Arden); Performing Maternity in Early Modern England (Ashgate); New Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter); Placing Names: Enriching and Integrating Gazetteers (Indiana); Making Things and Drawing Boundaries (Minnesota); Rethinking Shakespeare Source Study: Audiences, Authors, and Digital Technologies (Routledge); and Civic Performance: Pageantry and Entertainments in Early Modern London (Routledge). For more details, see janellejenstad.com.

 Matthew Krist Matthew Krist

Matthew Krist was an actor with Shakespeare and the Queen’s Men Project. He played Rafe Simnell, Richard, Friar Bungay, and Devil in Friar Bacon and Friar Bungay (2006) and Ned, Cobbler’s Wife, and Drummer in Famous Victories (2006).

 David Kynaston David Kynaston

David Kynaston was an actor with Shakespeare and the Queen’s Men Project. He played Jaques Vandermast, Burden, and Serlsby in Friar Bacon and Friar Bungay (2006) and Jockey, Lord Chief Justice, Constable, Burgundy in Famous Victories (2006).

 Kate LeBere Kate LeBere KL

Project Manager, 2020–2021. Assistant Project Manager, 2019–2020. Textual Remediator and Encoder, 2019–2021. Kate LeBere completed her BA (Hons.) in History and English at the University of Victoria in 2020. During her degree she published papers in The Corvette (2018), The Albatross (2019), and PLVS VLTRA (2020) and presented at the English Undergraduate Conference (2019), Qualicum History Conference (2020), and the Digital Humanities Summer Institute’s Project Management in the Humanities Conference (2021). While her primary research focus was sixteenth and seventeenth century England, she completed her honours thesis on Soviet ballet during the Russian Cultural Revolution. She is currently a student at the University of British Columbia’s iSchool, working on her masters in library and information science.

 James D. Mardock James Mardock

James Mardock is Associate Professor of English at the University of Nevada, Associate General Editor for the Internet Shakespeare Editions, and a dramaturge for the Lake Tahoe Shakespeare Festival and Reno Little Theater. In addition to editing quarto and folio Henry V for the ISE, he has published essays on Shakespeare, Ben Jonson, and other Renaissance literature in The Seventeenth Century, Ben Jonson Journal, Borrowers and Lenders, and contributed to the collections Representing the Plague in Early Modern England (Routledge 2010) and Shakespeare Beyond Doubt (Cambridge 2013). His book Our Scene is London (Routledge 2008) examines Jonson’s representation of urban space as an element in his strategy of self-definition. With Kathryn McPherson, he edited Stages of Engagement (Duquesne 2013), a collection of essays on drama in post-Reformation England, and he is currently at work on a monograph on Calvinism and metatheatrical awareness in early modern English drama.

 Christopher Matusiak Christopher Matusiak

Christopher Matusiak (Friar Bacon and Friar Bungay) is an Associate Professor of English at Ithaca College in New York where he teaches courses on Shakespeare and early modern drama. His research on seventeenth-century theatre management at the Drury Lane Cockpit has appeared in Early Theatre and Medieval and Renaissance Drama in England, and in Shakespeare Quarterly on the use of John Aubrey’s manuscripts in studies of Shakespeare’s life. He is currently writing a book (with Eva Griffith) about Christopher Beeston and the Cockpit playhouse, and researching another on the persistence of illegal stage-playing during the English Civil Wars, Shakespearean Actors and their Playhouses in Civil War London. He also prepared REED London: The Cockpit-Phoenix: an edited collection of seventeenth-century manuscripts and printed documents illustrating the history of the Cockpit-Phoenix playhouse in Drury Lane (for The Records of Early English Drama). He can be contacted at cmatusiak@ithaca.edu.

 Alon Nashman Alon Nashman

Alon Nashman was an actor and musical director with Shakespeare and the Queen’s Men Project. He played Keeper and Miles in Friar Bacon and Friar Bungay (2006) and Derrick in Famous Victories (2006).

 Helen Ostovich Helen Ostovich

Helen Ostovich, professor emerita of English at McMaster University, is the founder and general editor of Queen’s Men Editions. She is a general editor of The Revels Plays (Manchester University Press); Series Editor of Studies in Performance and Early Modern Drama (Ashgate, now Routledge), and series co-editor of Late Tudor and Stuart Drama (MIP); play-editor of several works by Ben Jonson, in Four Comedies: Ben Jonson (1997); Every Man Out of his Humour (Revels 2001); and The Magnetic Lady (Cambridge 2012). She has also edited the Norton Shakespeare 3 The Merry Wives of Windsor Q1602 and F1623 (2015); The Late Lancashire Witches and A Jovial Crew for Richard Brome Online, revised for a 4-volume set from OUP 2021; The Ball, for the Oxford Complete Works of James Shirley (2021); The Merry Wives of Windsor for Internet Shakespeare Editions, and The Dutch Courtesan (with Erin Julian) for the Complete Works of John Marston, OUP 2022. She has published many articles and book chapters on Jonson, Shakespeare, and others, and several book collections, most recently Magical Transformations of the Early Modern English Stage with Lisa Hopkins (2014), and the equivalent to book website, Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context containing scripts, glossary, almost fifty conference papers edited and updated to essays; video; link to Queen’s Mens Ediitons and YouTube: http://threeladiesoflondon.mcmaster.ca/contexts/index.htm, 2015. Recently, she was guest editor of Strangers and Aliens in London ca 1605, Special Issue on Marston, Early Theatre 23.1 (June 2020). She can be contacted at ostovich@mcmaster.ca.

 Eric Rasmussen Eric Rasmussen

Eric Rasmussen is Regents Teaching Professor and Foundation Professor of English at the University of Nevada. He is co-editor with Sir Jonathan Bate of the RSC William Shakespeare Complete Works and general editor, with Paul Werstine, of the New Variorum Shakespeare. He has received the Falstaff Award from PlayShakespeare.com for Best Shakespearean Book of the Year in 2007, 2012, and 2013.

 Nicole Vatcher Nicole Vatcher NV

Technical Documentation Writer, 2020–2022. Nicole Vatcher completed her BA (Hons.) in English at the University of Victoria in 2021. Her primary research focus was women’s writing in the modernist period.

 Anonymous William Shakespeare William Shakespeare The true chronicle history of King Leir, and his three daughters, Gonorill, Ragan, and Cordella. London: John Wright, 1605. STC 15343. ESTC S111094. The Chronicle History of King Leir. Ed. Sidney Lee. Chatto & Windus, 1909. A Critical Edition of the True Chronicle History of King Leir and His Three Daughters, Gonorill, Ragan and Cordella. Ed. Donald Michie. Garland, 1991. Bevington, David. Shakespeare: The Seven Ages of Human Experience. Wiley-Blackwell, 2005. Bourus, Terri, ed. A Midsummer Night’s Dream. By William Shakespeare. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 1079–1134. WSB aaag2304. Bourus, Terri, ed. Antony and Cleopatra. By William Shakespeare. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 2567–2657. WSB aaag2304. Buhler, Stephen M. The Sirens, the Epicurean Boat, and the Poetry of Praise. Music of the Sirens. Ed. Linda Austern and Inna Naroditskaya. Indiana University Press, 2006. Connor, Francis X., ed. The Life and Death of King John. By William Shakespeare. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 1135–1206. WSB aaag2304. Connor, Francis X., ed. The Second Part of Henry the Fourth. By William Shakespeare. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 1359–1436. WSB aaag2304. Connor, Francis X., ed. As You Like It. By William Shakespeare. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 1689–1755. WSB aaag2304. Fitzpatrick, Joan. Irish Demons: English Writings on Ireland, the Irish, and Gender by Spenser and his Contemporaries. University Press of America, 2000. Haslewood, Joseph. Mirror for Magistrates. 5 vols. London: Lackington, Allen, and Company, 1815. James, Heather. Shakespeare’s Troy: Drama, Politics, and the Translation of Empire. Cambridge University Press, 1997. Jowett, John, ed. The Tragedy of Richard the Third. By William Shakespeare. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 543–638. WSB aaag2304. Jowett, John, ed. The Tragedy of Hamlet, Prince of Denmark. By William Shakespeare. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 1997–2099. WSB aaag2304. Jowett, John, ed. King Lear and his Three Daughters. By William Shakespeare. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 2347–2433. WSB aaag2304. Jowett, John, ed. The Tragedy of Macbeth. By William Shakespeare and Thomas Middleton. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 2501–2565. WSB aaag2304. Lee, Sidney, ed. The Chronicle History of King Leir. Chatto & Windus, 1909. Lexicons of Early Modern English. Ed. Ian Lancashire. Toronto: University of Toronto Press, 2013. http://leme.library.utoronto.ca/index.cfm. Lodge, Thomas. Rosalynde: Euphues’ Golden Legacy. London, 1590. Loughnane, Rory, ed. The Tempest. By William Shakespeare. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 3069–3131. WSB aaag2304. Loughnane, Rory, ed. The Second Part of Henry the Sixth; or, The First Part of the Contention. By William Shakespeare and Christopher Marlowe. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 251–330. WSB aaag2304. Loughnane, Rory, ed. The Life of Henry the Fifth. By William Shakespeare. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 1529–1606. WSB aaag2304. Loughnane, Rory, ed. Pericles, Prince of Tyre. By William Shakespeare and George Wilkins. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 2659–2722. WSB aaag2304. Michie, Donald, ed. A Critical Edition of the True Chronicle History of King Leir and His Three Daughters, Gonorill, Ragan and Cordella. Taylor & Francis, 1991. Mueller, Martin. From Leir to Lear. PQ 73.2 (1994): 195–217. Neville, Sarah, ed. The First Part of King Henry the Sixth; or, Harry the Sixth. By Christopher Marlowe, Thomas Nashe, and William Shakespeare. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford: Oxford University Press, 2016. 923–996. WSB aaag2304. OED: The Oxford English Dictionary. 2nd ed. Oxford University Press, 1989. Pliny the Elder. Natural History. Trans. Philemon Holland. London, 1601. Pruitt, Anna, ed. The Taming of the Shrew. By William Shakespeare. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 407–476. WSB aaag2304. Pruitt, Anna, ed. The Tragedy of King Richard the Second. By William Shakespeare. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 847–922. WSB aaag2304. Pruitt, Anna, ed. The History of Henry the Fourth. By William Shakespeare. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 1275–1353. WSB aaag2304. Pruitt, Anna, ed. Much Ado about Nothing. By William Shakespeare. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 1437–1505. WSB aaag2304. Roberts, David. Henry VIII and the True Chronicle History of King Leir. Notes and Queries n.s. 48.3 (2001): 302–303. Sharpe, Will, ed. All Is True; or, The Famous History of the Life of King Henry VIII. By John Fletcher and William Shakespeare. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 3183–3268. WSB aaag2304. Sommerville, Johann P., ed. Political Writings/James VI and I. Cambridge University Press, 1994. Steevens, George, ed. The True Chronicle History of King Leir and his Three Daughters. Twenty of the Plays of Shakespeare: Being the Whole Number Printed in Quarto During his life-time, or before the Restoration. Vol. 4. London: J. and R. Tonson, 1766. 2K5r–2P8r. ESTC T140378. Stern, Tiffany, ed. The Chronicle History of King Leir. Nick Hern Books, 2002. Taylor, Gary, ed. The Tragedy of Othello; or, The Moor of Venice. By William Shakespeare. The New Oxford Shakespeare. Ed. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. Oxford University Press, 2016. 2111–2194. WSB aaag2304. Tilley, Morris P. A Dictionary of the Proverbs in England in the Sixeenth and Seventeenth Centuries. University of Michigan Press, 1950; rpt. 1966. Ward, Ian. Shakespeare and the Legal Imagination. Cambridge University Press, 1999. Wilson, Emily R. Mocked with Death: Tragic Overliving from Sophocles to Milton. Johns Hopkins University Press, 2004. Wither, George. A Collection of Emblems, Ancient and Modern. Quickened with Metrical Illustrations, both Moral and Divine, and Disposed into Lotteries, that Instruction, and Good Counsel, may be Furthered by an Honest and Pleasant Recreation. London: A.M., 1635. LEMDO Team The LEMDO Team is based at the University of Victoria and normally comprises the project director, the lead developer, project manager, junior developers(s), remediators, encoders, and remediating editors. University of Victoria https://www.uvic.ca/ QME Editorial Board

The QME Editorial Board consists of Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); Andrew Griffin, General Editor (Text); and Janelle Jenstad General Editor (Text).

 Queen’s Men Editions QME

The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); Andrew Griffin, General Editor (Text; until 2026); and Janelle Jenstad, General Editor (Text; 2026–)

 Enter King Leir,Nobleman. Enter King Leir and Nobles. —too late— (too late) too late While the parentheses in Q contradict modern usage, it is problematic to follow Michie and Stern and to ignore them completely. The punctuation here emphasizes a stress—perhaps a mournful aside—that Q indicates with parentheses. cherubim. cherubin cherubims cherubins perfect perfit jointure jointer My zeal is fixed: all fashioned in one mould, My zeale is fixt, all fashiond in one mould: My zeal is fix’d, all fashion’d in one mould; The punctuation in Q, Steevens, Lee and Michie is confusing. With a semi-colon or colon at the end of the line, we have to assume that fashioned refers to Leir’s zeal, even though it obviously refers to his daughters: they have all been fashioned in the same mould (their mother’s womb?) and, therefore, they deserve equal dowries. from for set Though obsolete by 1605, the use of set for sat may be an intentional archaism rather than, as Lee suggests in his textual notes, a misprint. lov’st louest lovest Th’Hibernian The Hibernian offered offred offer’d Enter the King of Gallia Enter the Gallian king Fame fame Enter the King of Cornwall Cornwall’s hand. Enter the King of Cornwall and his man booted and spurd, a riding wand, and a letter in his hand. This punctuation of the SD now emphasizes that it is Cornwall, rather than his servant, who carries the letter. Enter the King of Cambria,and his man, Servant 2. Enter the King of Cambria booted and spurd, and his man with a wand and a letter. This punctuation of SD now emphasizes that it is Cambria, rather than his servant, who carries the letter. Sultan Souldan ’Sblood, ’Sblood Exeunt omnes; Perillus remains. Exeunt omnes, manet Perillus. Enter the King of Galliapilgrims. Enter the Gallian King, and Mumford, disguised like Pilgrims. I would exchange itclothes together. Verse in Q, Steevens, Lee, Stern and this edition; Michie renders these lines as prose. sometime sometimes Well, for her sake,maids of France Verse in Q, Steevens, and Lee; this edition follows Michie and Stern and renders these lines as prose. alone solus vile, vild vilde vile vild Stern and Michie seem inconsistent in their modernizations of vild; c.f. QLN 761, QLN 2251, etc. To Leir and his attendants Not in Q. perfect perfit dost doest alone solus sola sequestered sequestred sequestered offered offred offer’d stol’n stolne stol’n Madam, I hope yourking’s letters. Verse in Q, Steevens, and Lee; this edition follows Michie and Stern, rendering these lines as prose. Ay, but you needcannot save him Verse in Q, Steevens and Lee; this edition follows Michie and Stern and renders these lines as prose. Ay, but thoulike to have Prose in Michie and Stern; this edition follows Q, Steevens and Lee, rendering these lines as verse. Palermo. Palerno It sufficeth;off his skin Verse in Q, Steevens, and Lee; this edition follows Michie and Stern, rendering these lines as prose. alone solus sola His his At stake in the capitalization of his is the question of reference: the capitalization suggests—as is clear from the context—that his refers to God rather than to Gallia. perfect perfit indurable. endurable According to the OED, indurable is obsolete and rare, meaning unendurable. This usage of indurable antedates by two years the OED’s first (and only) exemplary usage in Edward Topsell’s The historie of foure-footed beastes (1607). all but Ragan. manet Ragan alone solus See She King of Gallia Gallian king art are Britain, Brittayne Brittaine perfect perfit alone. solus Aside Q, Steevens, and Lee mark this stage direction between QLN 1426 and QLN 1427. Clearly, though, the whole speech is spoken aside. don’t do not Aside Not in Q, Steevens, Lee. portends. pretends Aside Not in Q, Steevens, Lee. hands, hand perfect perfit Leir and Perillus Leir & Perillus Ambo. AMBO. Damon, Damion Damon not only scans better in this line, but also is the usual modern-spelling complement to Pythias. perfect perfit Leir and Perillus bless themselves. They blesse themselues. perfect perfit to do the execution? to do execution The line scans properly and makes more sense with the the added here. th’other the other She Se alone. solus Enter Gallia,Mumford. Enter the King and Queene of Gallia, & Mumford. Well, if I oncewhile I live Verse in Q, Steevens, and Lee; this edition follows Michie and Stern and renders these lines as prose. Well put in?follow me to France. Verse in Q, Steevens, and Lee; this edition follows Michie and Stern and renders these lines as prose. Nay, you’d have beenshe would do. Verse in Q, Steevens, and Lee; this editions follows Michie and Stern and renders these lines as prose. Well, I have a pairall your mocks. Verse in Q, Steevens, and Lee; this edition follows Michie and Stern and renders these lines as prose. Well, you are twoaction of unkindness Verse in Q, Steevens, Lee and Michie; this edition follows Stern and renders these lines as prose. Faith, nothing butwhich is very near. Verse in Q, Steevens, and Lee; this edition follows Michie and Stern and renders these lines as prose. loss lesse feigned feign’d fayn’d fain’d Michie’s and Stern’s use of fain’d is confusing. According to the OED, fain’d means gladsome or welcome. The sense here is clearly dissimulation, hence feigned. For fain meaning gladsome or welcome, see QLN 27 and QLN 138. vile vild First Mariner looks on Leir. looke on Leir Second Mariner looks on Perillus. Looke on Perillus God be with you,unreasonable as another. Verse in Q, Steevens, Lee, Michie and Stern. I know thou wilt,come back again. Verse in Q, Steevens, and Lee; this edition follows Michie and Stern, rendering these lines as prose. perfect perfit Enter the King of Gallia, Cordella, Enter the Gallian King and Queene Enter attendants with banquet table. Not in Q. This stage direction is implied by the dialogue and stage action. It is clear from Perillus’ sighting of men and women at QLN 2160 that the stage direction at QLN 2091 is incomplete: there are more female characters on stage than Cordella. The stage direction at QLN 2177 also indicates the presence of a table for which no stage direction in Q accounts. It is possible, as in Michie, that A table with food and drink is brought forward at QLN 2165 when Cordella calls for but some meat to feed Perillus and Leir. In fact, the stage direction might fit anywhere between QLN 2097 and QLN 2164. Britain, Brittayne Cordella takes Mumford’s baskettable. Not in Q. It is unclear exactly what happens on stage at this point. It is possible that Cordella, by calling for meat, is urging Mumford to unpack the contents of his basket onto the table, rather than unpacking the basket herself. a Briton a Brittayne a Brittaine Might do. Might dō vile vile vile vild alone sola Not in Stern. King of Gallia, Gallian King eyes, eye construe conster portend pretend ’Tis ten to oneneglect their charge. Prose in Q, Steevens, Lee and Michie; this edition follows Stern, rendering these lines as verse. King of Gallia, Gallian King half have I must confess,with naked women Verse in Q, Steevens, Lee and Michie; this edition follows Stern, rendering these lines as prose. dar’st darest sure sute Welshman, I’ll sowell this twelvemonth. Verse in Q, Steevens, and Lee; this edition follows Michie and Stern and renders these lines as prose. human humane Video Sc. 1 Scene 1
A photo of King Leir, Skallinger, Perillus, and a Nobleman from scene 1 of the King Leir production.
The short opening scene of the play economically communicates much vital information about the plot but was one of the most difficult scenes to perform. The performance of Leir and Skalliger in particular proved challenging as the actors found the evidence in the text to be contradictory. Their efforts to develop characterizations that allowed them to perform all their moments with conviction can tell us much about the twenty first century acting process and the different techniques used by the Queen’s Men. Read more about the performance of Scene 1. Leir
A photo of Don Allison as King Leir. Leir is a white man with grey hair and a full beard. He is wearing a crown.
Leir’s opening speech proved extremely difficult for the actor to memorize. Leir skips from one thought to the next without making the connections between his thoughts clear and Don Allison who played Leir was initially confused about its intention. Read more about performing Leir in Scene 1. Thus to As befits. obsequies Funeral rites. our Leir here uses the first personal plural pronoun, rather than the first person singular, as is his royal prerogative; because the monarch figuratively embodies the will of all individuals under his rule, he speaks necessarily in the plural. too late Recently. ride in triumph Make a victorious entrance into a city. The triumph was a Roman celebration to mark a military victory, and it featured the parading of spoils and prisoners through the city. In Shakespeare’s Antony and Cleopatra, Antony paints a picture of the triumph when describing one of Cleopatra’s possible fates: Vanish, he tells Cleopatra, angrily, or I shall give thee thy deserving / And blemish Caesar’s triumph. Let him take thee / And hoist thee up to the shouting plebeians; / Follow his chariot, like the greatest spot / Of all thy sex; most monster-like be shown / For poor’st diminutives, for dolts, and let / Patient Octavia plough thy visage up / With her preparèd nails (Ant 38.32–39). cherubim Angels. Cherubim is the masculine plural of cherub in Hebrew, and is considered plural in modern English. According to Pseudo-Dionysius in De Coelesti Hierarchia, cherubim are found among the highest order of angels (see Chapter VI). Considering the setting of the play in pre-Christian Britain, the allusion to Judeo-Christian angels is anachronistic, as are many subsequent allusions to Christian lore, theology, and practice. grave Much respected or well regarded. disposing of Finding husbands for. princely Royal. As nature bindeth In accordance with natural law. wanting Lacking. pattern Role model. a ship … stern A ship’s stern is, variously, the steering gear or the rudder. The example is proverbial (Tilley S347). Or silly … care Silly = helpless and defenseless. The example is proverbial (Tilley S312). The double meaning of pastor—as the leader of a church and the leader of a literal flock—was commonplace in early modern discussions of religious and political authority. tender Value. But daughters’ … turns Mothers provide guidance to daughters (just as fathers provide guidance to sons). succeed Inherit; follow in succession. And course … loins Leir believes that he is too old to sire any more children. fain Gladly. resign Relinquish. A worthy … profess
A photo of David Kynaston as Skalliger. Skalliger is a white man with a black goatee and is wearing all black.
Skalliger’s suggestion seems innocent enough but later evidence reveals his devious political intentions. David Kynaston, the actor playing Skalliger, found the evidence in the text puzzling when applying common twenty first century acting techniques. Read more about performing Skalliger in Scene 1 . dowry The funds and property given by the bride’s family to the groom so that he will relieve the bride’s family of the burden of her support. quondam Former. licensed me … speak
A photo of David Kynaston as Skalliger. Skalliger is a white man with a black goatee and is wearing all black.
The actor playing Skalliger (David Kynaston) felt it was very important that his character was granted a special license to speak to Leir. Read more about performing Skalliger in Scene 1 . censure Determine. several Various, divers, sundry (OED several, adj. 2.c). jointure Dowry. No more … me
A photo of Don Allison as King Leir. Leir is a white man with grey hair and a full beard. He is wearing a crown.
Having rambled through his opening speech, Leir is suddenly eloquent and decisive. The contradictory attitudes evident in the text presented a challenge to the actor playing Leir in the SQM productions. Is Leir a grief stricken old man or a decisive political operator? Read more about performing Leir in Scene 1 . even all alike Evenly amongst the daughters. unpartial Impartial. censure Judgment, with a sense of moral import. Leir here thinks that his decision is both morally just and reasonable. Wherefore On account of which. This sense of wherefore is archaic, but was operative in the sixteenth and seventeenth centuries (OED wherefore, adv. 1.4). indubitate Undoubted. The word is often used in discussions to monarchical succession. See, for instance, Edward Hall’s The union of the two noble and illustre famelies of Lancestre and Yorke where he describes Henry V as The very indubitate heyre general to the crowne of Fraunce (Hall 73). set Sat. Fates The personification of mythic forces that determine the course of one’s life and the time of one’s death. The Fates (the Greek Morae or Roman Parcae) were depicted in Greek and Roman mythology as sisters who measured the threads of individual lives. The first would spin the thread of life, the second would measure the thread, and the third would cut the thread when one’s life was at its end. loose … life Determine that you should die. Early modern writers often figured the body as a prison of the soul and they figured death as a release from that prison. Andrew Marvell, for instance, invokes this vision of the soul in his Dialogue Between the Soul and Body where the soul apostrophically wonders, O, Who shall from this dungeon raise / A soul enslaved so many ways? / With bolts of bones, that fettered stands / In feet, and manacled in hands (Marvell). after-wishes Wistful regrets. Albion The island of Great Britain. While modern historians divide the pre-Anglo Saxon archipelago into nations that correspond with Pictish, British and Celtic ethnic groups, such distinctions are far less cut-and-dry in early modern usage, particularly in Leir. According to Pliny the Elder (Pliny 4.6.102), Albion was the name for the island while Britain (or Britanniae) was the name for the entire archipelago, including Ireland; this classical nomenclature basically holds throughout Leir, where Britain and Brittany are used to refer to the archipelago. Despite this approximate regularity, however, it remains difficult to identify the kingdom of which King Leir is king. Certainly, he is a British king, but Cambria and Cornwall are also British kings (i.e., kings within Britain). Geoffrey of Monmouth’s 12th C. description of the ancient island makes no better sense of the play’s vision of British geography. While Geoffrey points out that ancient Albion was divided into kingdoms that corresponded (roughly) with modern England, Scotland and Wales, the island in this play seems divided differently and idiosyncratically (i.e., Leir features a King of Cornwall that Geoffrey would not have recognized in politico-geographical terms). In any case, it seems likely that Leir’s kingdom in the play includes London as its seat, though little else can be said about his kingdom’s geography. Further complicating the play’s sense of political geography, the historical Leir is associated with Leicester, the city he purportedly established, rather than with London. Herein … cease
A photo of Don Allison as King Leir. Leir is a white man with grey hair and a full beard. He is wearing a crown.
Having given the impression in his opening speech that he is incapable of dealing with his daughters he now reveals that he has clear plans. How can an actor playing the role make sense of these apparent contradictions? Read more about performing Leir in Scene 1 . sort Agree. Sort also refers to the act of apportioning. Cornwall The most southwestern part of England. Cambria The area of the island to the west of the Severn River. The borders of historical Cambria were regularly debated in early modern England. While Geoffrey of Monmouth insisted that the Severn marked the border between England and Wales, most early modern antiquarians such as William Harrison and William Camden argued that early modern Wales was not identical with ancient Cambria. On the mapping of Cambria in early modern England, see Philip Schwyzer, A Map of Greater Cambria. motion Propose. The rhetoric of motions informed the early modern language of emotions, indicating a stirring of the soul, an emotion or a passion (OED motion, n. 2.12.a). This association between the language of physics and the language of affect makes sense when considering early modern humoralism, which figured the affective subject in decidedly hydraulic terms. This association between passion and motion is caught in John Florio’s 1598 World of Words where Moto is defined as a motion, a moouing, a gesture, a wagging, a motion or cause of stirring of any thing, a passion of a mans minde (LEME). When Leir says that Cambria and Cornwall motion love, then, he is making claims about legal contracts (a proposal) as well affects (a stirring in the soul). solicited Asked for her hand in marriage. divers Various. peers Members of the hereditary nobility. partial fancy Particular, discriminating desire or taste. policy Strategy; connotes Machiavellian subtlety and cunning. ne’er prevail Never be persuaded to. chronicles The chronicle was a form of history writing popular in early modern England. Chronicles are characterized by their breadth and by their absence of obvious organizing principles apart from chronology. Perhaps the most influential and ambitious early modern chronicler was Raphael Holinshed, whose Chronicles served as a significant source for a variety of early modern dramatists (see Holinshed). Holinshed’s Chronicles includes an account of the history of Leir that almost certainly influenced this play. provident Showing thought for the future. stopped Dammed up. I am resolved
A photo of Don Allison as King Leir. Leir is a white man with grey hair and a full beard. He is wearing a crown.
Don Allison who played King Leir chose to deliver this line with sudden vehemence. It was key moment for him that linked two aspects of his character: the grief-stricken old man with the powerful politician. When his judgment was questioned by Perillus, his temper flashed. Read more about performing Leir in Scene 1 . sudden Previously unconsidered. at the vantage At a moment when he holds the (argumentative) advantage. Vantage was a distinct word, not simply an abbreviation of advantage, in early modern usage. It generally connoted a competitive gain, as in John Florio’s 1598 World of Words where he translates and defines Aggiunta as an addition, a vantage, an ouertaking, an ouerreaching (LEME). Such language emphasizes Leir’s decidedly unpaternal, competitive relationship with Cordella. suit Request. Brittany When Leir refers to Brittany, he seems to mean to the entire archipelago, including Ireland (or Hibernia). Brittany is interchangeable in the play with Brittayne. The SQM company chose to make this Leir’s exit line. For a full discussion see the note at . bewray your secrecy Tell your secret. Though most immediately referring publicizing secrets, bewray usually connoted telling something that one knows to his discredit or harm (OED bewray, v. 2.a). Bewray also bears with it a significant humiliation factor: to bewray is not only to expose, but also, and more specifically, to expose to ridicule or shame. In the SQM production, Skalliger exited at this line. For a full discussion see the note at . Exeunt The text implies that all the characters leave together at the end of the scene but we found this awkward in practice for several reasons. First, Leir is on stage when Skalliger states he will betray him and when Perillus comments on the folly of fathers. These lines could be explained as asides to the audience, which are rarely marked in early modern texts, but then we were left with the problem of what Leir should be doing while the other characters are speaking to the audience. We could have left him on stage to engage in a mimed conversation with the First Lord in mime but this felt awkward theatrically. Since Leir finishes his speech on a high note, believing his policy will triumph (.), we chose to make the final line an exit line.
A photo from the production of King Leir with Leir, Perillus, Gonorill, Cordella, and Ragan on stage.
Skalliger then spoke his brief line to the audience before hurrying after the other courtiers leaving Perillus alone on stage to share his moral aphorism. Our staging solution does not solve all the issues as Leir got a head start on Skalliger who promised to get to the sisters before the king: I’ll to them before (.) but our solution eased stage traffic as staggering the exits allow for one character to clear the stage at a time, rather than all characters crowding through the exit at once, which creating a hiatus before the next scene begins.
A photo of King Leir, Skallinger, Perillus, and a Nobleman from scene 1 of the King Leir production.
Visit Performing the Queen’s Men. Video Sc. 2 Scene 2
A photo of two of sisters in the King Leir production.
The Queen’s Men sisters make their attitude and intentions clear to the audience from the moment they step out on stage. My direction to the actors was to think of these characters as the wicked sisters in a Cinderella pantomime. I described these sisters to the actors as the Vices to Cordella’s Virtue. Read more about performing Gonorill and Ragan in Scene 2 . I marvel … you
A photo of Matthew Krist as Gonorill. Gonorill is a white woman wearing a hair covering.
Gonorill provides plenty of information on which to build psychological motivation for herself and her sister but the SQM company approached this scene as if the characters were derived from a morality play rather than a psychological drama. Read more about performing Gonorill and Ragan in Scene 2 . pert peat Pert refers to outspoken liveliness, generally connoting the impertinence of a social inferior; peat is generally a term of endearment, but is used here ironically to mark Cordella—in the eyes of Gonorill and Ragan—as a self-righteous, self-aggrandizing goody-goody. a quaint device An ingenious or fashionable trinket. choice invention Skillful, sophisticated devising. nice Extravagant or ostentatious (OED nice, adj. 1.2.c). precise Fastidious. By calling Cordella precise, Gonorill is invoking here the language of Puritanism (or anti-Puritanism), and she is allying Cordella with a sense of radical, overdone, overly fastidious piety. The Puritans in early modern England were a large group of Christians who disagreed with the English church, claiming that the church was not as reformed as it should be. According to the Puritans, the English church was troubled because it maintained and encouraged Popish or Roman practices, and because it failed to encourage the severe and zealous—precise—moral rigor that the Puritans thought necessary. As the Marprelate Controversy attests (Martin Marprelate Controversy), the Puritans’ religious zeal often left them at odds with the more moderate religious doctrines espoused by Elizabeth I, and it also often left them open to lampooning on the early modern stage by playwrights such as Thomas Middleton in his Chaste Maid in Cheapside. By putting a critique of religious precision in the mouth of the unsympathetic Gonorill, the play is not—in any straightforward or simple way—endorsing Puritanical zeal or rigor: first, Puritans were often lively opponents of the theatre, so early modern Puritan drama is almost oxymoronic; second, Cordella shows herself to be anything but overly precise in her subsequent bawdy quibbling with Mumford later in the play. It seems that the amoral Gonorill finds anyone with moral sense to be overly fastidious and puritanical. desperate medicine Serious treatment. prick The highest point; in this case, status above her elder sisters. set by … days Esteemed no more than laborers. what several How many, implying that there is a large number of suitors. best degree Highest rank. hap Perhaps. Why … give place Rules of decorum would insist that we show her respect. According to early modern social protocols, married women were attributed higher social status than unmarried women, even if the unmarried women were younger. Kate in Shakespeare’s Taming of the Shrew makes a complaint much like Ragan’s complaint here when Kate is concerned that her younger sister, Bianca, will be the first married; specifically, Kate is concerned that she will feel great shame if she is forced to dance barefoot (i.e., like a virgin) on Bianca’s wedding day (Shr 5.33). Though … disgrace Though it will cause us significant disgrace. By my virginity The play does not make clear whether or not we should hear irony here. It seems possible that the line should be read as ironic, especially considering the double entendres that both sisters exchange with the messenger. Perhaps, as in Shakespeare’s Lear, Gonorill and Ragan are sexualized figures.
A photo of Matthew Krist as Gonorill. Gonorill is a white woman wearing a hair covering.
Matthew Krist (Gonorill) made a clear choice that the reference to her virginity was ironic and an overt sexuality became central to his interpretation of his character. Sexual references like this always increased my awareness of the male actors playing the roles of the women. Read more about performing Gonorill and Ragan in Scene 2 . shirt Undergarments. I have … already I have provided my consent to the legal transfer of property that coincides with marriage. Gonorill claims that she has already indicated her interest in marriage to Cornwall, even though official marriage negotiations have yet to be completed. Because she has already accepted Cornwall as a husband, her half of matrimonial deliberations has been completed, and it is now up to Leir to grant his half of the permission. Swear … deeply
A photo of Derek Genova as Ragan. Ragan is a white woman wearing a purple and white hair covering.
Derek Genova (Ragan) picked up on the sexual references in Krist’s performance (as Gonorill) and deeply took on an anatomical meaning in reference to Gonorill’s vow (). Read more about performing Gonorill and Ragan in Scene 2 . luckily
A photo of David Kynaston as Skalliger. Skalliger is a white man with a black goatee and is wearing all black.
At the end of the previous scene, Skalliger implied that he was going directly to the princesses to tell them the news. Here he represents this encounter as chance and this evidence was part of the complex process through which the SQM actor built his characterization. But how might the original actors have achieved the same effect? Read more about performing Skalliger in Scene 2 . expedition Performance. Note that the word is pronounced with five syllables. I am … child I am filled with longing (a commonplace). Note that Skalliger picks up on the literal meaning of the phrase in his response. longing The fanciful cravings incident to women during pregnancy (OED longing, n.1 3). Skalliger here picks up on Ragan’s turn of phrase in the preceding line. great secrecy
A photo of David Kynaston as Skalliger. Skalliger is a white man with a black goatee and is wearing all black.
The King told Skalliger the plot in the presence of numerous other courtiers. Is Skalliger lying or does he have a privileged relationship with the king? These questions were of great importance to Kynaston when rehearsing this scene but is it necessary to resolve this issue and perform the character? Read more about performing Skalliger in Scene 2 . out of hand Immediately. fain Happily. Hibernia The Roman name for Ireland. doubts … consent Expects her to withhold her consent. so you will If you will. so extremely dotes So unreasonably esteems and values. To dote might also indicate that Leir’s unreasonable behaviour is the result of old age or senility (i.e., one’s dotage). Such a vision of Leir as senile corresponds with the subsequent claims that Gonorill and Ragan make. presently Right away. look whose Evaluate whose. Oh … with Mermaids were often thought to have fine singing voices. Though it was conventional to figure mermaids as excellent singers, Ragan here seems to confuse mermaids—half-woman / half-fish sea creatures—with the Sirens of classical Greek mythology. The Sirens were half-woman and half-bird creatures whose beautiful songs were said to lure sailors toward craggy rocks where their ships would be wrecked. The most famous example of such Sirenic temptation is found in Homer’s Odyssey (Ovid) where Odysseus lashes himself to the mast of his ship while sailing past the Sirens so that he will be able to hear their song without drawing his ship towards the shoal (Homer). The rest of the men on his ship protect themselves from the Sirens by plugging their ears with beeswax. In early modern literature, the Sirens were often allied with all manner of effeminate, erotic, and aesthetic temptations, as in the Bower of Bliss episode of Spenser’s Faerie Queene where Guyon, the Knight of Temperance, is tempted by siren-like mermaids (Spenser 2.12). Much like Ragan, then, Spenser attributes the Sirenical power of poetic and erotic temptation to mermaids. See also Stephen M. Buhler, The Sirens, the Epicurean Boat, and the Poetry of Praise in Music of the Sirens. enjoin Compel. will … agree Will end most obviously to your benefit. gentle An epithet that indicates he is of gentlemanly stock. Nay … us Even though they are cruelly abusing Cordella with their plan, Gonorill thinks that their cruelty will be interpreted as daughterly devotion.
A photo of two of sisters in the King Leir production.
In the remainder of the scene the sisters whet their own and the audience’s appetite for the action to come revelling in their anticipated revenge. The SQM actors were encouraged to relish the performance of vice rather than consider the reasons for the sisters’ behaviour. Read more about performing Gonorill and Ragan in Scene 2 . For why Because. To say … me Thomas H. McNeal finds a verbal parallel here with Henry VI, Part 1 where Margaret of Anjou explains, An if my father please, I am content (1H6 5.6.83). On the early modern stage, regal daughters often acquiesced to their fathers in matters of marriage, as in Famous Victories of Henry the Fifth where Katharine promises to rest at your Maiesties commaund when discussing marriage (FV Sp 567). Apollo’s The Greek and Roman god of the sun, light, and knowledge or enlightenment; also (as in this case) regarded as the god of music and the god of poetry. Jove A Roman name for the king of the Olympian gods; aka Jupiter (Roman) or Zeus (Greek). Irish Hibernian; Hibernia was the Roman name for Ireland. better plot
A photo of two of sisters in the King Leir production.
The sisters have spelled out their plot with great relish and raised clear expectations of the action to come that are duly fulfilled in the upcoming scene. This effect is a typical element of Queen’s Men dramaturgy that McMillin and MacLean describe as narrative over-determination. The SQM actor played the characters as morality Vices making the consequences of their plotting all the more predictable. Read more about narrative over-determination in Scene 2 . Video Sc. 3 Scene 3 Shakespeare’s play begins with the love test featured in this scene but the effect of the Queen’s Men scene is markedly different. The two prior scenes in the Queen’s Men play have openly stated the intentions of Leir, Gonorill, and Ragan, consequently intensifying the dramatic irony for the audience watching the scene and marking a significant difference in the dramaturgy of the two plays.
A photo from the production of King Leir with Leir, Perillus, Gonorill, Cordella, and Ragan on stage.
Read more about moral dichotomy in Scene 3 . Will them Command them. common weal The public good (not to be confused with the commonwealth as a modern nation state). He God. watch … behalf Look after their best interests. wantons Ungovernable persons, but the designation seems here to evoke a sense of paternal care. According to Leir, his daughters Gonorill, Ragan, and Cordella—perhaps spoiled—are headstrong and difficult to manage. toys Trivialities or amusements. While they … toys Emily Wilson draws a link between this line and Gloucester’s famous lines in King Lear, As flies to th’ wanton boys are we to th’ gods: / They bite us for their sport (Lr 15.35–36). See Wilson, Mocked With Death 118. This Leir’s. annoys Literally, annoyances, but with a sense of extreme, rather than trivial, vexation (OED annoy, n. 1.a). The perceived severity of these annoyances is obvious in Leir’s subsequent rhetoric where he refers to the doubt which much molests my mind. conformable Pliable or agreeable. presageth Foretells. three daughters The daughters entered in order of age. This is the first entrance of Cordella and in contrast to her elaborately dressed sisters she wore a plainer, steel-blue gown. The sisters stood in a line upstage with Cordella standing slightly apart, stage left.
A photo from the production of King Leir with Leir, Perillus, Gonorill, Cordella, and Ragan on stage.
Read more about performing the love test in Scene 3 . present Immediate. doubt
A photo from the production of King Leir with Leir, Perillus, Gonorill, Cordella, and Ragan on stage.
In the opening scene, Leir states the purpose of the love test is to trick Cordella into marriage but now he claims it will resolve a doubt he has about the sincerity of his daughter’s affections. Don Allison (Leir) justified this discrepancy as a consequence of Leir’s unstable emotional state. Read more about performing the love test in Scene 3 . Our royal … us
A photo of Matthew Krist as Gonorill. Gonorill is a white woman wearing a hair covering.
Matthew Krist (Gonorill) gave these lines a mock insouciance as his character pretended ignorance of what was about to unfold. In the SQM production we chose to make Gonorill and Ragan’s insincerity perfectly apparent to the audience, which made the scene funny despite the high stakes of the action. Read more about performing the love test in Scene 3 . tenor The general nature or substance. The word is fairly legalistic, making Gonorill seem, perhaps, more like a subject than a daughter. assizes Judicial inquests. Leir imagines himself weighed or evaluated at the end of his life, and he imagines that such evaluation will determine his post-mortem fate. Assize also evokes commercial weighing and valuation on which Leir may pick up in the next line with a quibble on tender. tender Evaluate or value. Note that the word bears decidedly economic connotations that echo with the assizes of the preceding line. hest Command. any … daughters’
A photo of Matthew Krist as Gonorill. Gonorill is a white woman wearing a hair covering.
Matthew Krist (Gonorill), emphasized any to indicate Gonorill’s intention to set up Cordella’s fall. In the spirit of a fairy tale romance, Krist made his character’s manipulation of her father archly apparent to the audience. Read more about performing the love test in Scene 3 . windy words Fatuous language. rehearsed Recited or declared. millstone Proverbially heavy. Gonorill here alludes to Matthew 18:6, But whoso shall offend one of these little ones which believe in me, it were better for him that a millstone were hanged about his neck, and that he were drowned in the depth of the sea (Matthew 18:6). marry
A photo of Matthew Krist as Gonorill. Gonorill is a white woman wearing a hair covering.
Gonorill specifically references marriage to distinguish her obedience from Cordella’s resistance to her father’s will. Her malicious intent towards her sister was maintained throughout fulfilling the course of action promised in Scene 2. Her overt malice was amusing for the SQM audience. Read more about performing the love test in Scene 3 . meanest Lowest social status. vassal A feudal tenant. Oh … words
A photo of Don Allison as King Leir. Leir is a white man with grey hair and a full beard. He is wearing a crown.
Don Allison (Leir), gave this line a childlike naivety that helped justify the fact his character could not perceive his daughter’s lies although they were made perfectly apparent to the SQM audience. Read more about performing the love test in Scene 3 . Oh … flattery Shakespeare also includes Cordella’s (or Cordelia’s) choric asides at this moments in the play, though Leir emphasizes the problem of flattery to a greater extent. While Cordella repeatedly goes back to the problem of flattery—a problem central to renaissance humanist discussions of courtliness—Shakespeare’s Cordelia is more general in her criticism, and she is less obviously critical of her sisters, as when she says, in response to Regan’s obsequious spiel, I am sure my love’s / More richer than my tongue (Lr 1.65–66).
A photo of Julian DeZotti as Cordella. Cordella is a white woman wearing blue and white clothes.
Unlike in King Lear, the audience can be certain that Cordella’s interpretation is accurate. From the side of the stage, Cordella created a direct relationship with the audience who shared her perspective on the action. Read more about performing Cordella in Scene 3 . other maid
A photo of Derek Genova as Ragan. Ragan is sitting on a set of steps.
Ragan is obliquely referring to Cordella. The SQM actor chose to make the reference overt in performance. Read more about performing the love test in Scene 3 . in plainer case More straightforwardly. let … suffice May this small gesture demonstrate what I cannot adequately express. How much … you The language here and throughout this speech—the language of zeal and grace—is decidedly devotional. Using this language of faith to discuss interpersonal relationships is characteristically hyperbolic and blasphemous. ratify Confirm or prove. bridle fancy Curb desires or curb individual taste (OED bridle, v. 2.a; OED fancy, n. 8.a). ruled by you
A photo of Derek Genova as Ragan. Ragan is sitting on a set of steps.
As with Gonorill (), Ragan specifically references her obedience in marriage to expose her sister Cordella’s unorthodox stand. Read more about performing the love test in Scene 3 . Philomel Philomel, or Philomela—a figure from Greek and Roman mythology—was transformed into a nightingale with a famously sweet song. In Ovid’s standard account of Philomela’s story, her tongue was cut from her mouth by her brother-in-law, Tereus of Thrace, in order to guarantee that she would remain silent after he raped her. After telling her story to her sister, Procne, in an embroidered tapestry, the sisters revenged Tereus’ rape by murdering Tereus’ son Itys and by feeding Itys surreptitiously to his father. After this feast and after Tereus was informed of his cannibalism, all three figures were turned to birds. Ovid’s account of this story in Book 6 of the Metamorphoses (Ovid) was incredibly influential in early modern England, informing, for instance, Shakespeare’s Titus Andronicus. In Titus, Lavinia is raped, has her tongue removed, and tells her story by pointing to a copy of the Metamorphoses. Later in the play, Titus feeds Tamora her sons—the men who raped Lavinia. As is often the case in Leir, the speaker here seems oblivious to the various negative connotations of the allusions that he or she invokes; in this case, Leir refers only to Philomela’s beautiful voice while he ignores the violence and horror that are central to her story. so sweet … note
A photo of Don Allison as King Leir. Leir is a white man with grey hair and a full beard. He is wearing a crown.
Don Allison (Leir) was filled with joy at his daughters’ answers, failing to see the insincerity that was apparent to the audience. His joyous response made him childlike in his gullibility, invoking sympathy while still marking his credence as folly. Read more about performing the love test in Scene 3 . flatterer
A photo of Julian DeZotti as Cordella. Cordella is a white woman wearing blue and white clothes.
Unlike in King Lear, the audience can be certain that Cordella’s interpretation is accurate. From the side of the stage, Cordella created a direct relationship with the audience who shared her perspective on the action. Read more about performing Cordella in Scene 3 . I cannot
A photo of Julian DeZotti as Cordella. Cordella is a white woman wearing blue and white clothes.
Julian DeZotti (Cordella) presented her arguments modestly, with a decisive edge. Playing the virtuous sister proved a challenge to our twenty first century actor. Read more about performing Cordella in Scene 3 . brook Tolerate. slight Flimsy, foolish, and/or of little worth. minion A follower, often used as a term of endearment (that would here be ironic). peremptory Decisive or abrupt. short Shorten. foster Supply with food or raise as a child; to care for and nurture as a father should. Leir here emphasizes, that is, that he has fulfilled his paternal duties. Our life … you Our love for you is greater than our desire to remain alive. But it … off You must sing your own praises because no one else is singing them. Proverbial: He dwells far from neighbors (has ill neighbors) that is fain to praise himself (Tilley N117)
A photo of Julian DeZotti as Cordella. Cordella is a white woman wearing blue and white clothes.
Cordella here fights back against her sisters. Julian DeZotti (Cordella) used such moments to develop a more progressive interpretation of his character as the production developed. Read more about performing Cordella in Scene 3 . imp A child, often connoting quasi-demonic parentage. Because an imp is also a shoot or slip used in grafting (OED imp, n.1 2.a), Leir’s language here yokes ideas of family and genealogy to the language of horticulture; this yoking of genealogy and the language of horticulture occurs throughout the play.
A photo of Don Allison as King Leir. Leir is a white man with grey hair and a full beard. He is wearing a crown.
The onset of Leir’s rage is sudden—a characteristic technique of Queen’s Men dramaturgy. The SQM actors had to learn to commit to sudden changes in emotion. Read more about medley style in Scene 4 . tittle A small stroke with a pen, such as the dot atop an i. Leir uses the word figuratively to indicate a miniscule amount. Shift Manage her life. Leir is saying that Cordella should try to get by without his help. royal dower The dowry fit for the daughters of a king, including half of Leir’s kingdom. dispossess Relinquish the rights to land, title, and crown. It is unclear whether or not such abdication is legal or possible according to English politico-theological assumptions about the divine right of kings. The argument in favor of divine right—and thus aginst the possibility of abdication—is framed succinctly in Shakespeare’s Richard II where Richard claims that Not all the water in the rough rude sea / Can wash the balm off from a ’nointed king. / The breath of worldly men cannot depose / The deputy elected by the Lord (R2 3.2.50–53). While Richard here clearly affirms the claims of divine right, it is unclear whether or not the play endorses such a vision of divinely ordained politics or whether it argues for precisely the opposite. The question of abdication is also central to Shakespeare’s Lear, but there is no critical consensus on the play’s understanding of Lear’s abdication. While Marvin Rosenberg points to Charles V’s abdication to suggest that in Shakespeare’s world abdication was not regarded as horrible or unnatural (Rosenberg 41), it is unclear that Charles V was part—in any simple way—of Shakespeare’s world. If we imagine Shakespeare’s world to be delimited by the political theology of early modern England, then responses to the abdication of an elected Holy Roman Emperor seem immaterial. I ever … fall Proverbial (Tilley P581: Pride will have a fall). The sense that overweening pride would lead inevitably to a reversal of fortune was central to many early modern visions of the providentially ordered human world, particularly as that world was imagined in the popular de casibus tradition, where hubris in the powerful was invariably punished. This tradition seems to be invoked ironically and proleptically at this moment where the Gonorill mocks the modest and pious Cordella. Exeunt As with the exits in Scene 1, sequential exits for the characters proved far more economical than a mass exeunt. Leir left on his final line and allowing Gonorill and Ragan to delivered their last sarcastic barbs before flouncing off the stage victoriously. Him God. for to … spending To earn the money that I need to live. fond Foolish. Video Sc. 4 Scene 4
A photo of the King of Gallia and Mumford. The King is a white man with dark brown hair and is wearing a crown. Mumford has a dark brown beard and is wearing a hat.
Following the dark conclusion to the previous scene, Scene 4 marks a change of mood and a new direction for the storyline. We are introduced to a character that will play a central role in the resolution of the narrative: the King of Gallia. Shakespeare’s equivalent, the King of France, has only a marginal role to perform in that drama, but in the Queen’s Men play the Gallian King and his sidekick Mumford are central to the story and the SQM actors playing the roles brought much comedy, energy, and drive to the performance. Read more about the performance of Scene 4 . Gallia During the Roman Empire, Gallia, or Gaul, was the area of Western Europe occupied by modern France and Belgium. By 486 CE—subsequent to the time of Leir—Gaul fragmented into a collection of smaller kingdoms that included France. Leir generally treats Gaul as synonymous with France. three Nobles more
A photo of Scott Maynard as the French Lord. He is wearing a dark blue outfit.
The SQM company performed Leir with only 12 actors rather than 14 and thus the French retinue was diminished to one lone French Lord. Visit Performing the Queen’s Men to learn more about the doubling of roles. some disguise
A photo of Paul Hopkins as the King of Gallia. He is a white man with dark brown hair and is wearing a golden crown.
Paul Hopkins (Gallia) seized on the character’s love of disguise and adventure rather than his classical education as the basis of his performance. Read more about performing Gallia in Scene 4 . flying Fame Also known as Rumor, Fame or Fama was often personified in classical literature. As Heather James points out, she stands for incomplete, misleading narration (James 24). Fame was often depicted with wings, because, proverbially, rumors fly, or travel quickly. Gallia here is wondering whether to trust Fame in her reports of the beauty of Gonorill, Ragan, and Cordella. As in his subsequent reference to Fortune (), and as in his hyperbolically classicized disguise as Tressilus (), Gallia indicates here a sophisticated and decidedly courtly knowledge of classical rhetoric. Such knowledge was thought—by humanists such as Erasmus and Sir Thomas Elyot—to befit a good humanist monarch. Erasmus’ Education of a Christian Prince is the locus classicus of discussions about the relationship between princeliness, courtliness, and classical education (Erasmus). If present … praise If they will live up to reports when I see them with my own eyes. Venus The Roman goddess of love, beauty, and fertility; Aphrodite in Greek mythology. stand auspicious Fortuitously endorses and wishes well. And Fortune … hand Proverbial; Fortune favors the bold (Tilley F601). seized of Having laid claim to or captured. Gallia hopes to claim one of Leir’s daughters as a wife as one would claim a prize. As Jason … fleece Jason was a mythical Greek hero who struggled to capture the golden fleece in order to reclaim his kingdom. As Apollonius of Rhodes tells Jason’s story in Argonautica, Jason was the son of Aeson, whose half-brother, Pelias, killed Aeson and claimed Aeson’s crown as king of Thessaly. When Jason came to claim his rightful crown, Pelias said that Jason could have the crown if Jason would first find the golden fleece of the winged ram, Chrysomallos. Ovid tells the story of Jason’s search for the fleece in Metamorphoses (Book VII); considering subsequent references to the resurrection of Aeson—a detail unique to Ovid—it is quite plausible that Ovid is the source for this allusion. Mumford
A photo of Alon Nashman as Mumford. Mumford has a dark beard and is wearing a hat.
Mumford is clearly a comic role. For the SQM productions we envisaged him as a role designed for the famous company clown Richard Tarlton. Read more about performing Mumford in Scene 4 . pilgrimage A journey to a place thought to be religiously meaningful or sacred. By figuring the journey to Britain to meet Leir’s daughters as a pilgrimage, Mumford—perhaps ironically—invests it with some sort of spiritual value. gallant Attractive and showy. So that … content
A photo of Alon Nashman as Mumford. Mumford has a dark beard and is wearing a hat.
Mumford makes the sexual motivation behind the pilgrimage apparent revealing the character’s comic function within the play. Read more about performing Mumford in Scene 4 . congees Courteous bows. These courteous bows were often elaborate and formal, so performing them was a sign of sophistication and courtliness. See Alon Nashman’s interpretation of such bows on Performing the Queen’s Men. Mumford seems to imply a double entendre, though it is unclear what, specifically, his hands will be doing when he bows. Such congees often involved large broad gestures of the arms, and they were often paired in the French tradition with hand kissing, so there is certainly room for potential groping. mean Means. salute To greet with words or gestures, including kisses (OED salute, v. 1; 2.e). second To agree with and support. words of dignity Titles indicating his status as the King of Gallia. Make … me Treat me. palmers’ Itinerant Christian monks or pilgrims, called palmers because they typically bore with them a palm leaf in memory of pilgrimage to Jerusalem. weeds Garb. Blounts The great Elizabethan family of the Blounts enjoyed the baronial title of Mountjoy to which a mysterious allusion is possibly made here (Lee xxxiv-xxxv). The name is pronounced, blunts, thus enabling Mumford’s quibble on bluntness as directness in speech.
A photo of Alon Nashman as Mumford. Mumford has a dark beard and is wearing a hat.
Mumford’s adoption of colloquial prose and the fact he associates himself with the English Blount family, was key to the SQM casting of this role. Read more about performing Mumford in Scene 4 . pleasant company
A photo of the King of Gallia and Mumford. The King is a white man with dark brown hair and is wearing a crown. Mumford has a dark brown beard and is wearing a hat.
In the SQM productions, these two characters perform a key dramaturgical function by proving pleasant company for the audience as well as each other. Read more about medley style in Scene 5 . resteth Remains to be done. Gallia’s last order of business before his pilgrimage is to invest his councilors with regal power for the tenure of his absence. away
A photo of Paul Hopkins as the King of Gallia. He is a white man with dark brown hair and is wearing a golden crown.
Paul Hopkins (Gallia) created a comic false exit on this line that emphasized the youthful impetuousness of his interpretation of the King. The nobleman’s final words called Paul back to the stage, and once the nobleman finished speaking, Paul dashed off again. Read more about performing Gallia in Scene 4 . Video Sc. 5 Scene 5
A photo from Scene 5 of King Leir.
The Queen’s Men introduce Gonorill and Ragan’s two kingly suitors in comic mode. The company generates fun around the characters’ eagerness to consummate their loves and their mistaken suspicion that they may be discovering a rival. The playfulness of this scene is typical of the play as a whole with its happy mix of the comic and the serious. Read more about the performance of Scene 5 . riding wand A straight, slender stick used as a crop for horses. The props economically indicate that the kings are on a journey as a consequence of information in their letters. To increase the humour arising the king’s urgency, the SQM actors burst onto the stage with great energy.
A photo from Scene 5 of King Leir.
Read more about performing Cornwall and Cambria in Scene 5 . twenty thousand miles
The text later indicates that Cambria looks at the letter () when he enters the scene, and although the same is not indicated in the text here, the SQM Cornwall (Gray) also perused his letter following his entrance. The action indicated the cause of his impatience and emphasized the mirroring of the action that is central to the scene’s dramaturgical conception. Read more about performing Cornwall and Cambria in Scene 5 . To himself
A photo of David Kynaston as Cornwall’s servant. He is wearing plain dark clothing and standing slightly hunched over.
In the SQM production, Cornwall’s servant (Kynaston) directed his complaint directly to the audience. The company worked from the assumption that soliloquies and asides were all delivered to the audience rather than in a self-reflective manner. In fact, the company was encouraged to turn as many of their lines out to the audience as possible. The stage direction here that is found in the original quarto edition challenges our assumption and suggests at least that asides could be perceived as internally directed. Directing the lines at the audience in our production, however, helped generate a comic dynamic for this scene. Read more about comic servants in Scene 5 . ride … me Ride alone without me. gratified Requited. He looks … letter
The SQM Cambria used the first part of this line to burst on stage and then drew out his letter. The original stage direction appears in the margin and it is unclear exactly when the playwright expected the actor to open the letter. Read more about performing Cornwall and Cambria in Scene 5 . forbear Endure or tolerate. To himself
Cambria’s servant (Borg) directed his complaint directly to the audience. The company worked from the assumption that soliloquies and asides were all delivered to the audience rather than in a self-reflective manner. In fact, the company was encouraged to turn as many of their lines out to the audience as possible. The stage direction here that is found in the original quarto edition challenges our assumption and suggests at least that asides could be perceived as internally directed. Directing the lines at the audience in our production, however, helped generate a comic dynamic for this scene. Read more about comic servants in Scene 5 . Daedalus’ waxen wings Daedalus was a skilled craftsman and inventor in Greek mythology. To escape imprisonment by King Minos on the island of Crete, Daedalus built wings from wax, feathers, and string for himself and for his son, Icarus. After ignoring his father’s advice and flying close to the sun, the wax of Icarus’ wings melted, causing them to fall apart and causing him to fall to his death. Ovid tells the story of Icarus and Daedalus in Metamorphoses, Book VIII (Ovid). Troynovant London, or New Troy. Though the story had been debunked by early modern historiographers, many early modern poets such as Edmund Spenser and Anthony Munday and Thomas Dekker—following earlier historiographers—imagined that London was the cultural heir of Troy and classical Rome. According to apocryphal historical accounts, London was founded by Roman Brute, an heir of Aeneas, so the city occupied a place within an imagined translatio imperii. See Spenser’s Faerie Queene, for instance, where the speaker claims that noble Britons sprang from Trojans bold, / And Troynovant was built of Troyes’ ashes cold (Spenser 3.9.38); see also Munday’s The Triumphes of Re-United Britannia, which features Brute as a significant character (Munday); see also Dekker’s Troia-Nova Triumphans, a civic pageant based entirely on the myth of London’s Trojan inheritance (Dekker). Though Leir in Leir seems—by this allusion—to locate his court at London, the historical Leir was most frequently associated not with London but with Leicester. This association between the monarch’s court and the city of London would not become particularly close until the Tudor reign, particularly under Elizabeth. and me
Cambria’s servant takes more pains to articulate his frustrations and following his lines we added a piece of comic business, having the actor slump to the ground exhausted. Read more about comic servants in Scene 5 . start … other
The stage direction suggests a classic, comic double take and was key to deciphering the tone of the scene in rehearsal. Read more about narrative over-determination in Scene 6 . in happy time Fortuitously or by luck, but also a colloquial greeting like Good to run into you. No doubt
Surprised at their unexpected meeting as indicated by the previous stage direction, the two SQM kings surveyed each other suspiciously, trying to deduce the other’s purpose. Read more about performing Cornwall and Cambria in Scene 5 . slenderly accompanied Without many attendants. brook delays Suffer delays. Tell you … mine If you tell me why you’re here, then I’ll tell you why I’m here.
The SQM kings played on the childishness implied here and gave their characters a romantic naivety. Read more about performing Cornwall and Cambria in Scene 5 . moiety Portion. regiment. Magisterial authority; in this case, territory and its associated rights. we must … call We must call each other brother (in law).
The extreme coincidence of their meeting and their mirrored purpose was funny but the SQM actors played it with a level of naivety that allowed the audience to laugh with them rather than at the artificiality of the plotting. Read more about performing Cornwall and Cambria in Scene 5 . seigniories The territories and revenues under the dominion of a lord or, in this case, king. the third part One-third, rather than one-half, of Leir’s kingdom. complements Attributes. The hole Cambria absurdly misconstrues Cornwall’s whole for hole, meaning vagina. According to the logic of this mishearing, Cambria seems to imagine that he and Cornwall will marry two sisters but will share a single vagina. Compare with Ragan’s similar bawdy mis-hearing ().
This double entendre helped the SQM company find the tone for this scene. Read more about narrative over-determination in Scene 6 . ’Sblood An oath; abbreviated from by God’s blood, in reference to Christ’s wounds. ’Twere … cloister’s wall According to Reformers, to cloister oneself was to waste one’s life by refusing to do God’s work. See the similar sentiment in Midsummer Night’s Dream where Theseus warns Hermia about the livery of a nun: For aye to be in shady cloister mewed, / To live a barren sister all your life, / Chanting faint hymns to the cold fruitless moon (MND 1.71–73). howsoe’er Notwithstanding that. Exeunt
In the SQM production the two kings hurried off-stage, followed reluctantly by their two comic servants who hauled themselves to their feet and lumbered off after them. Read more about comic servants in Scene 5 . Video Sc. 6 Scene 6
A photo from Scene 6 of King Leir.
Scene 6 is a good example of what McMillin and MacLean refer to as narrative over-determination. The scene was enjoyed by the audience in performance but always felt unnecessary to me. Read more about narrative over-determination in Scene 6 . pretty piece Cunning or crafty woman, with sexual connotations on piece. sir-reverence With all due respect. he It is possible that this he should be a she. It makes little sense to imagine the reclamation of Leir here, but it makes perfect sense to imagine that Gonorill refers to Cordella, who has been disowned and will not be reclaimed by her father. I was … like I was planning to do something similar in short order. Beshrew your fingers In typical usage, Beshrew your fingers would mean, Curse your actions (specifically the actions of your hands), or it would indicate the laying of blame for actions. This sense of anger or rue is obvious in the OED’s exemplary passage from Thomas Fuller’s Holy State, He hath just cause to beshrew his fingers (Fuller 3). In this specific case, however, the expression is used teasingly to mean something like, Clever you, able to work that out. And clip … high To clip a birds wings prevents it from flying. This line echoes Gonorill’s earlier allusion to Icarus (), and it echoes the proverbial and poetic relationship between pride and punishment that Gonorill earlier invokes (). With nothing Gonorill misunderstands Ragan and imagines that some men get married without penises. Compare with Cambria’s previous confusion about spousal genitals ().
Matthew Krist as Gonorill. Gonorill is a white woman looking off to the side and smirking.
Krist (Gonorill) relished the double entendre here developing the open sexuality central to his interepretation of the character. The moment was always met with laughter and mirrored the similar misunderstanding in the previous scene between Cornwall and Cambria. Read more about the performance of Scene 6 . stately Worldly. Gonorill suggests that Cordella, proud of her high-birth, is constitutionally unable to live life as a parson’s wife. benefice … back The wages of ecclesiastical workers. Gonorill suggests here that Cordella will spend the entirety of her future husband’s wages on clothing. Compare with Cordella’s discussion of ecclesiastical penury during the wooing scene (). I think long Grow wearied. to consummate To complete or to make real, with a sense of sexual consummation. Our hand … seal Having sent letters, Leir’s hand has made offers that were ratified by the wax seal used to close those letters. More than simply securing the letter, the seal—bearing some sort of regal insignia —implies that Leir’s crown will insure the integrity and validity of the offer. pelican In early modern England, the pelican was said to feed its young by plucking feathers from its breast and allowing its fledglings to drink the blood. Because of its purported self-sacrificing behavior, the pelican was a popular image in emblem books of the period when depicting Christ or the Church. See, for instance, George Wither’s emblematic image of the pelican, from A Collection of Emblemes, Ancient and Modern, in which the pelican serves as a hieroglyphick for Christ (Wither). This vision of the self-sacrificing pelican was also appropriated by Queen Elizabeth I in the Pelican Portrait by Nicholas Hilliard (TudorHistory.org Blog). The contrast in these lines between the eagle and the pelican appears to be novel, although it corresponds generally with the emblematic visions of these birds. On the eagle, see Alciato’s emblem which associates the eagle with a powerful boldness (Alciato). That kills … sun According to folk beliefs, the eagle tests its young by forcing them to look steadily at the sun and kills the one that cannot do so without watering eyes (Michie 208). this two days The next two days. arrived already
This line always got a good laugh in the SQM performance thanks to the comically expeditious arrival of the two kings as if on cue. The SQM kings emphasized their desire for the queens by dashing onto the stage and staring adoringly at their respective brides. Read more about the performance of Scene 6 . Priam’s Priam was the final king of Troy before the city fell to the Greeks in the Trojan war. In early modern England, Priam was variously and contradictorily figured in terms of his wisdom and his doddering. As we see often in Leir, the speaker alluding to a classical figure or text—Leir, in this case—fails to recognize the ambivalent connotations associated with the figure to whom he alludes. The stories of Troy’s fall and the subsequent translatio imperii— particularly as they were told in Virgil’s Aeneid—were hugely popular in early modern England among artists, writers, and historiographers. One might recognize this influence most conspicuously in Shakespeare’s Troilus and Cressida, or in the several translations of Virgil that were undertaken in the period. See also the story of Priam’s slaughter as it is recounted in Hamlet by the Player King (Ham 7.342). undeserved Undeserved because exceptional; a commonplace sentiment in the language of manners. Leander … Hero Hero and Leander were famous doomed lovers of classical mythology. Living across the Hellespont from one another, Leander would swim nightly to be with Hero, whom he subsequently seduced. Leander eventually drowned during a storm while en route to visit Hero. While Gonorill accurately recognizes Hero’s love for Leander, her allusion seems somewhat macabre or misplaced at this moment. Though Christopher Marlowe’s Hero and Leander was popular when first published in 1598 and in the three subsequent editions that appeared prior to Leir’s publication in 1605, his version of the story was published after the latest conjectured dates for the first performance of Leir. If not influenced by Marlowe, this allusion was perhaps influenced by Ovid’s Heroides. Further suggesting Ovid’s influence here, the next lines in the play refer to Aeneas and Dido, two other lovers whose disastrous romance was recounted in Heroides. Though Marlowe also wrote a dramatic version Dido, Queen of Carthage in 1592, it is unclear that the play was ever performed, despite the claims of its title page to have been performed by the Children of the Chapel. For Marlowe’s Hero and Leander (including Chapman’s completion of the poem) see Project Gutenberg; for Ovid’s Heroides XVIII to XIX see Poetry in Translation. Aeneas … Carthage queen Aeneas, having escaped Troy at the moment of its destruction, finds refuge in Carthage and receives aid from Carthage’s queen, Dido. Dido—at the prompting of Venus and Cupid—falls in love with Aeneas and commits suicide when he leaves Carthage to found Rome. As with Gonorill’s earlier allusion to Hero and Leander, Gonorill’s allusion to Dido and Aeneas seems somewhat macabre or misplaced at this moment. The locus classicus for this version of the story of Dido and Aeneas is Virgil’s Aeneid Book II and Book IV. The story was popular in early modern England, and the first four books of the Aeneid, containing the story of Dido and Aeneas and the story of Troy’s fall, were translated alone into English by Richard Stanyhurst in 1582. Considering the earlier allusion to Hero and Leander, it is likely that the writer has Ovid’s Heroides in mind, because the stories of Hero and Leander and Dido and Aeneas are both re-told there by Ovid. For Ovid’s account of Aeneas’ betrayal of Dido, see his Heroides VII. fancy Desires or longing. resteth Remains. nuptial rites Wedding ceremonies. they draw lots
A photo from Scene 6 of King Leir
Why draw lots for a kingdom that has been equally divided? A redundant action in what the SQM company felt to be an unnecessary scene. Read more about narrative over-determination in Scene 6 . As erst As at one time, earlier, when he inherited his title. sojourn A temporary stay. beads Rosary beads. This reference to a decidedly Catholic religious accoutrement is unusual for being doubly anachronistic: Leir is set at a historical moment prior to the appearance of Christianity in England making the rosary seem too early, and it was written after the kingdom had become officially Protestant making such a conspicuously Catholic artifact seem too late. The rosary seems particularly out of place for Leir because he appears decidedly Protestant at other moments in the play, as when he subsequently falls asleep holding a prayerbook (). an if If. esteem Regard. mortal foe An opponent who will be thought beaten only when he or she is dead. heart blood Vital energy. strain forth Expend. Video Sc. 7 Scene 7
A photo of Gallia and Cordella standing close together and facing each other. Gallia is leaning his face towards Cordella.
This playful scene delighted the SQM audiences with its humour and the charmingly sudden onset of love between Gallia and Cordella. It is typical of the Queen’s Men style. Read more about the performance of Scene 7 . My lord
A photo of Gallia dressed as a pilgrim. He is holding a walking stick.
Gallia is frustrated because Mumford is addressing him as a king, forgetting they are in disguise as poor pilgrims. The SQM actors built great comic business around Mumford’s inability or refusal to remember. Read more about performing Mumford in Scene 7 . ’Swounds A common oath; abbreviated from by God’s wounds, in reference to Christ’s wounds. Call me … Denapoll These names do not correspond to any known historical or literary figures; instead, they are quasi-classical/pastoral names indicating Gallia’s education and sophistication. Mumford’s frustrated response indicates his distance from such courtly learnedness.
A photo of Mumford’s face.
Mumford has shown himself capable of courtly formality in his previous scene but here he separates himself from the king’s romantic pretensions. Read more about performing Mumford in Scene 7 . Then … Jack While these names are marked by their commonness when compared with the hyperbolically classicized Tresillus and Denapoll, they might also be evocative puns. Will in this case might suggest the will of the people or kingdom that the king is imagined to embody; Jack is a name associated, according to the OED, with knavery and poor breeding.
A photo of Mumford’s face.
Mumford’s choice of common English names is a sign of the character’s clownish inclinations. Read more about performing Mumford in Scene 7 . called Jack
A photo of Mumford’s face.
Alon Nashman (Mumford) straddled his pilgrim’s staff at this point and thrust his hips giving a clear reason why Mumford has deserved be called Jack, or a knave. Read more about performing Mumford in Scene 7 . close Hidden. This … rod
A photo of Cordella’s face. She is gazing upwards.
Initially Julian DeZotti (Cordella) struggled to connect with the passivity we perceived in this speech. Our efforts to connect with the text taught us much about the idea of divine providence and the representation of women on the early modern stage. Read more about performing Cordella in Scene 7 . fickle queen … chance Fortune. pattern Example. imbecility Weakness. brunts Attacks or abuse. Fortune The personified figure of Fortune played a significant role in early modern literary and dramatic traditions. Fortune was most often invoked by writers describing significant reversals of fate or when parsing the orbits of the Wheel of Fortune. The figure of Fortune was best known through the fall of Princes or de casibus, tradition, as in William Baldwin’s popular Mirror for Magistrates (Haslewood). Baldwin’s Mirror was significantly influenced by John Lydgate’s Fall of Princes , which was itself an adaptation of a French translation of Giovanni Boccaccio’s De Casibus Virorum Illustrium. It is this tradition to which Richard II refers in Richard II when he invokes the sad stories of the death of kings (R2 3.2.152). embrace the rod Appreciate moral correction. The relationship between the rod and moral or parental authority is of biblical derivation. See Proverbs 22:15: Foolishness is bound in the heart of a child; but the rod of correction shall drive it far from him. meaner habit Less ostentatious or luxurious clothing. smock and petticoat A smock is an article of women’s underwear like a chemise; a petticoat is a woman’s undercoat or decorative underskirt (OED smock, n. 1.a; OED petticoat, n. 2.a). that she … together Mumford wants to undress—or exchange clothes—with Cordella.
A photo of Mumford’s face.
Mumford’s bawdy responses worked in delightful counterpoint to the sincerity of Cordella’s commitment to a life of labour. Read more about medley style in Scene 7 . I will … ends
A photo of Cordella’s face. She is gazing upwards.
The sincerity of Cordella’s commitment to a life of labour worked in delightful counterpoint to Mumford’s bawdy responses. Read more about medley style in Scene 7 . St. Denis Saint Denis is the patron saint of France. Without a rhyme word, it remains difficult to know precisely how Denis should be pronounced in the play. Early modern convention might have read Dennis here, rather than the Gallic De-nee. sadly Earnestly; with great seriousness and sincerity. custom Patronage. If Cordella vows to remain chaste—a maiden—then Mumford refuses to support her in her new career as a seamstress.
A photo of Mumford’s face.
Mumford’s desire turns here to disappointment and the sudden reversal was very amusing in the hands of Alon Nashman our company clown. Read more about performing Mumford in Scene 7 . ’Sblood, Will
A photo of Mumford’s face.
Nashman (Mumford) played this moment with mock horror pretending to be the jealous lover before encouraging his master to get in in his next line (). Read more about performing Mumford in Scene 7 . sempster Seamstress. labyrinth Maze. It was conventional in the period to describe love as a confusing and disorienting labyrinth, as in Lady Mary Wroth’s Corona of Sonnets in her Pamphilia and Amphilanthus, which begins with the question, In this strange Labyrinth how shall I turne[?] (Wroth). get in A nonsense double entendre.
A photo of Mumford’s face.
Nashman (Mumford) made the meaning perfectly apparent by gesturing with his pilgrim’s staff. Read more about performing Mumford in Scene 7 . passions Pronounced with three syllables. Vouchsafe Literally, give to me or provide me with, though frequently used to refer to the disclosure of a information. what avails … cause Why bother discussing the matter? The silly … net This story of the mouse and the lion—one of Aesop’s fables—was a commonplace in early modern England (Tilley L315: A lion may come to be beholden to a mouse). hapless Unfortunate. sometime Former. debars Keeps out. his honorable age An epithet used to refer to Leir. say … king
A photo of Gallia dressed as a pilgrim. He is holding a walking stick.
Paul Hopkins (Gallia), delivered this line with an awareness of the dramatic irony at play engaging the audience both with the affectionate unfolding of the romance, and the comical ironies raised by the disguise and the high level of coincidence in the situation. Read more about medley style in Scene 7 . spoil Strip, as one is stripped of armor in military defeat. sue to me Request of me; in this case, request Cordella’s hand in marriage. Except Unless. guise Practice. Hymen’s sacred bonds Hymen is the Greek god of matrimony, imagined to bless happy marriages at the moment of the wedding ceremony. In early modern England, Hymen appeared regularly in wedding masques, as in Ben Jonson’s Masque of Hymen or Hymenaei, performed 5 January 1606 at the wedding of Robert Devereux, Earl of Essex, and Frances Howard (Jonson). Hymen also appears in the wedding masques of Shakespeare’s As You Like It (AYL 5.4.89) and The Tempest (Tmp 4.1.97). live For this line we made one of the very few changes to the text to help clarify sense for the actor: live was changed to love. Thou in the next sentence then referred to the personification of love. Andrew’s interpretation of the quarto colon at the end of line 96 makes new sense of the line without changing a word. Whilom whenas Once when. postulate Claim or request. light Fallen. surcease Stop pursuing. whereas … ensue Because no dowry will come of it. Cease … woo
A photo of Cordella’s face. She is gazing upwards.
Cordella is bold enough to declare her love rather than wait modestly to return the love of the pilgrim. Julian DeZotti (Cordella) did an excellent job identifying moments of agency like this and transformed my perception of his character. Read more about performing Cordella in Scene 7 . Your birth’s … king Thomas H. McNeal finds a parallel here with Henry VI, Part 1 where Suffolk, speaking of Margaret of Anjou, explains that her birth / Approves her fit for none but for a king (1H6 5.8.68–69). low Lowly, or modest. Contrary to Gonorill and Ragan’s earlier claims of Cordella’s haughtiness, Cordella here claims here to be quite modest in her tastes. so straight … penury Strictly moral and without money. The sense of straightness here likely comes—at least indirectly—from Matthew 7:14, where Christ is reported to have said, Because straight is the gate, and narrow is the way, which leadeth unto life, and few there be that find it. Oh … can
A photo of Cordella’s face. She is gazing upwards.
Cordella here follows her heart not the dictates of her father or society developing the play’s exploration of the conflict between romantic love and patriarchal authority. To make the scene work it was necessary to build the actors awareness of the cultural assumptions about marriage that would have made this scene more provocative in its day. Read more about the performance of Scene 7 . palmer’s staff A walking stick used by itinerant palmers or pilgrims. I’ll hold … queen In the imaginary transformation of palmer’s staff into regal scepter, Jacqueline Pearson detects a parallel with Richard II where Richard, abdicating, declares that he will exchange My sceptre for a palmer’s walking staf (R2 3.3.150). bonnet Palmers were usually depicted wearing large hats, presumably to protect them from rain and sun as they travel. See Pilgrims and Pilgrimage. cordial Broadly, any restorative, though more specifically a medicine that stimulates or revives the heart. king of Gallia
A photo of Gallia dressed as a pilgrim. He is holding a walking stick.
Paul Hopkins (Gallia) ripped off his pilgrim’s garb at this point revealing his kingly attire underneath. The company performane balanced the romance and the ironies beautifully in this scene. Read more about the performance of Scene 7 . slenderly accompanied With so few attendants.
Here Mumford reacted as if offended. Read more about performing Mumford in Scene 7 . vassal A feudal tenant. Have palmers’ … ladies
A photo of Mumford’s face.
Nashman (Mumford) expressed surprise and amazement that a pilgrim’s disguise should prove so sexually attractive. Read more about performing Mumford in Scene 7 . next that falls Next woman who is won. Falls here bears sexual connotations. weed Garment, here indicating its coarseness and lowliness. foppets A little fop or fool. According to the OED, this is the first and only usage of the word. What resteth What else do we require. The question is rhetorical, suggesting that they should hurry to wed. procure Bring about or acquire. I … wooing
A photo of Mumford’s face.
Always a big laugh line in performance—it encapsulated the interplay of emotional investment in the romance and an ironic awareness of its expeditious and fortuitous qualities. Read more about performing Mumford in Scene 7 . British ladies
A photo of Mumford’s face.
Nashman (Mumford) used this line to flirt with women in the audience who in the original production would have been British. Read more about performing Mumford in Scene 7 . humor Disposition, mood, or feelings. alienated … France I’m no longer attracted to French women. Video Sc. 8 Scene 8
A photo of Peter Higginson as Perillus. Perillus is a white man with shoulder-length grey hair and a beard. He has a furrowed brow and is speaking.
Perillus reports news we have already heard and events we hear about in the next scene. Similar monologues are a consistent feature of the dramaturgy of the play but why did the original company feel they were so important? Read more about medley style in Scene 7 . The king … all Robert Adger Law draws a parallel between Perillus’ description of Leir’s situation and the description of King John’s abdication in Shakespeare’s King John: The king hath dispossessed himself of us (Jn 4.2.23). sojourns Stays temporarily. mirror … patience A model of Christian virtue and forbearance. The Mirror was a popular genre of didactic literature in which tales of real or imagined figures were recorded for the edification of readers. To declare Leir a mirror of patience is to declare that he is the model or mould of patience, from which individuals might learn what the virtue is. See also where Gallia describes Cordella as a mirror of virtue; where Cordella describes to Gallia a mirror of zeal, justice, kindness, and care; and where Cordella describes Perillus as a Mirror of virtue and true honesty. In True Tragedy, Mistress Shore uses the same language when figuring herself as the mirror of the country’s fall (Sc2 Sp17) opprobrious sort Vituperative way. sets her … purpose Directs her hangers-on to undertake certain tasks. scoffing-wise Contemptuously or derisively. Oh … times A conventional formulation through which one laments the present as a moment of broad cultural debasement. This vision of the iron age finds its locus classicus in Virgil’s fourth Eclogue (Virgil). Considering the play’s regular invocations of Ovid’s Metamorphoses, the source might be the first book in which Ovid describes the iron age as a time when Truth, modesty, and shame, the world forsook: / Fraud, avarice, and force, their places took (Ovid). The precise phrasing of this complaint echoes a famous line from Cicero’s First Oration Against Catiline, in which he declaims, O tempora! O mores or, Oh the times! Oh the customs! (Cicero). vile Vile. alliance Friends or kin. redress Make right, correct. latest Final. Video Sc. 9 Scene 9
A photo of Gonorill and Skalliger. Both are wearing black outfits. Gonorill is clasping her hands in front of herself. Sklliger has his arms crossed and his hat pulled over his face.
The dramaturgy of this scene contrasts Shakespeare’s approach to the same material and reveals the different imperatives driving the work of the Queen’s Men. Read more about the performance of Scene 9 . I prithee … woe
A photo of Gonorill frowning. Gonorill is a white woman wearing clothes with gold detailing.
Matthew Krist (Gonorill), in keeping with the conception of her character as a form of vice, played this speech with brazen outrage that her doting father () was interfering with her freedom to buy new gowns () and throw lavish feasts (). Read more about the performance of Scene 9 . our As with Leir in the opening line of the play (), Gonorill—as monarch—speaks in the first person plural. quips … taunts Critical comments and demanding or insisting verbal attacks. I him … alms I maintain his lifestyle by my charity; below Gonorill further claims that this expense is vain, or unnecessarily extravagant. To check … up To correct and verbally reprimand for perceived ill-behavior. old doting … wit
A photo of Gonorill frowning. Gonorill is a white woman wearing clothes with gold detailing.
Matthew Krist (Gonorill) used the alliteration here to increase the vehemence of her vicious attack on her father. Read more about the performance of Scene 9 . doltish Foolish (due to old age). senseless check Correction or chastisement for no reason. banquet An extra meal, usually consisting of sweets, fruit and wine, served to extend a main meal, but usually in a room separate from the main meal. To grace myself To add dignity or honor to herself. captious Eager to point out the faults of others. vain expense Unnecessarily extravagant allowance. I prithee … woe Gonorill’s indirect request here parallels the famous ambiguity in Shakespeare’s Richard II where Bolingbroke refuses to ask for Richard’s execution but implies that Richard’s death would be a great benefit. See Richard II, where Exton asks a servant, Didst thou not mark the King, what words he spake? / Have I no friend will rid me of this living fear? / Was it not so? (R2 5.4.1–3). As many scholars have pointed out vis-à-vis Richard II, Henry II is said to have had Thomas á Becket executed using a similar tactic.
A photo of Gonorill frowning. Gonorill is a white woman wearing clothes with gold detailing.
Matthew Krist (Gonorill) gave this line a seductive quality as she asked Skalliger for guidance knowing all the while she had already taken decisive action. Read more about the performance of Scene 9 . For why Because. already
A photo of Skalliger with his eyebrows raised and mouth open. He is leaning back slightly.
Gonorill reveals here that she has already taken action against her father. David Kynaston, performing Skalliger, played surprise at this moment. Read more about performing Skalliger in Scene 9 . viperous Literally, snakelike, but figuratively treacherous or duplicitous. us the world
A photo of Skalliger with his eyebrows raised and mouth open. He is leaning back slightly.
Kynaston gave the moment a reflective quality that highlighted the moral commentary on flattery that was central to the purpose of this scene in the SQM production. Read more about performing Skalliger in Scene 9 . Exit.
A photo of Skalliger with his eyebrows raised and mouth open. He is leaning back slightly.
Having played a prominent role to this point, Skalliger here exits from the scene, never to be seen again. Read more about performing Skalliger in Scene 9 . Video Sc. 10 Scene 10
The conflict between Gonorill and Leir that has been described for us previously manifests itself in this scene, and in performance the energy of the show picked up here and the action drove forward with more pace and vigour. Read more about the performance of Scene 10 . Cornwall
A photo of Jason Gray as Cornwall. Cornwall is a white man with a goatee and wearing a crown.
At this point in the play Cornwall is a model son-in-law, genuinely concerned for the old king’s well-being. It was curious to Jason Gray (Cornwall) that his character apparently has no inkling of his wife’s dissatisfaction with her father. Read more about performing Cornwall in Scene 10 . aileth … be Causes you to feel. worldly joys
Shakespeare’s Lear is depicted returning from the worldly joy of hunting. Leir shows no signs of engaging in such pleasures nor gives any sign that Gonorill’s complaints are justified. Gonorill is clearly at fault in the Queen’s Men play. Read more about performing Leir in Scene 10 . frame himself Orient himself, or open himself to. What … began
Gonorill is inventing these concerns as Cornwall has expressed no such fears. In the SQM production, Matthew Krist (Gonorill) launched into a performance of the wronged but loving wife. Read more about performing Gonorill in Scene 10 . a piece … cheese Proverbially meager fare. in a time Shortly; inevtiably. practise Scheme or plot. practice Duplicitous and underhanded treachery or scheming. cease th’effect … began To cure the symptom (of marital discord) by eliminating the soruce (i.e., Leir). partial Biased or unfair. ne’er complained
A photo of Jason Gray as Cornwall. Cornwall is a white man with a goatee and wearing a crown.
Jason Gray (Cornwall) took these words as the truth and responded to his wife’s anger with puzzlement and a desire to make the peace. Read more about performing Cornwall in Scene 10 . weigh Treat with seriousness. woman’s words
A photo of Jason Gray as Cornwall. Cornwall is a white man with a goatee and wearing a crown.
Cornwall’s attempt to reassure his father-in-law produced a sharp reaction from our Gonorill and a big laugh from our 21st century audience. Whether this line would have been as funny for the original audience is a matter of contention. Our Cornwall (Gray) had to find a way to justify his characters verbal blunder but perhaps because in our society he was clearly being sexist. Read more about performing Cornwall in Scene 10 . she breeds … bones She is pregnant. What … belike Gonorill here objects to Leir’s suggestion that she’s is already pregnant: if she is already breeding young bones, then she would have been pregnant prior to her wedding day, thus making her unchaste before her marriage, or dishonest. Gonorill delivers this thanks ironically.
Gonorill twists the men’s words to defend her position and appeal to her husband for allegiance against her father. Matthew Krist relished the manipulative qualities of his character in performance. Read more about performing Gonorill in Scene 10 . I cannot stay
A photo of Jason Gray as Cornwall. Cornwall is a white man with a goatee and wearing a crown.
Having attempted to mediate between father and daughter, Cornwall suddenly leaves—an exit that proved hard for the SQM actor to motivate. Read more about performing Cornwall in Scene 10 . go pack Leave in a hurry and in disgrace; Gonorill is kicking Leir out. Instead of halving his allowance as promised in the last scene, Gonorill throws her father out. The escalation of her mistreatment serves to further establish her unambiguous wickedness. Read more about moral dichotomy in Scene 10 . wrested Twisted; Gonorill accuses Leir of intentionally mishearing her words. overlive Live too long. wight Person or creature. perfect zeal Unadulterated enthusaism. fatal dart According to the iconography of the period, Death was often figured as the bearer of a fatal dart, as in Book II of Milton’s Paradise Lost where Death bears his dart at the moment of his birth from Sin. In Sin’s words, describing Death’s birth: he my inbred enemie / Forth issu’d from Sin’s womb brandishing his fatal Dart / Made to destroy: I fled, and cry’d out Death; / Hell trembl’d at the hideous Name, and sigh’d / From all her Caves, and back resounded Death (Milton). See also Everyman, where Death declares: Lorde I wyll in the worlde go renne ouer all / And cruelly out searche bothe grete and small / Euery man wyll I beset that lyueth beastly / Out of goddes lawes and dredeth not foly / He that loueth rychesse I wyll stryke wt my darte (Everyman). He weeps
Leir weeps after expressing his first wish for an early death—a motif that becomes an important part of the dramaturgy of later scenes. Read more about moral dichotomy in Scene 10 . disconsolate yourself Render yourself sorrowful, without consolation; despair. wasting Undermining of strength. Perillus suggests here that Leir’s sorrow makes Leir weak. case Situation. miserable Both extremely sad and impoverished. forsake Abandon. excrement Superfluous trash. I ne’er … it
The following exchange between Leir and Perillus is carefully patterned and demanded an awareness of rhetorical technique from the SQM actors. Read more about narrative over-determination in Scene 11 . Did … left Did I ever show you favor or supplement the income (by rents) that you inherited from your father? confute Convince otherwise, or confound; prove an argument wrong. tribute Payment due to a superior. unkindness Both cruelty and unnaturalness, acting against the laws of kin and kind. th’unkind Both cruel and unnatural, acting against the laws of kin and kind. heavy doom Desperate fate. entreat me fair Treat me fairly, or as I deserve. I am … woe Using try to mean test or sample, Leir here agrees to sojourn with Ragan in order to see if things can get worse for him and Perillus. Video Sc. 11 Scene 11
The series of monologues informing the audience of past and future action were a puzzle for the SQM company. Read more about narrative over-determination in Scene 11 . bodeth Promises or foretells. happy stars Speaking astrologically. Ragan is happy that her fortune—foretold by the stars according to a sense of astrological determination—have provided her with such happiness.
Ragan’s joy is presented in obvious contrast with the mood of the previous scene. In performance, it gave her villainy a playful quality that was key to the play’s affect. Read more about performing Ragan in Scene 11 . vouchsafes Bestows kindness, generally to an inferior. I rule … king
The wicked sisters in the SQM productions took great relish in manipulating their husbands. Read more about performing Ragan in Scene 11 . states The members of the body politic, particularly those of estate (i.e., the nobility and clergy). a cooling card A term from an unknown card game for a card played as a deterrent to other players (OED cooling card, n.); it is applied figuratively to anything that dampens enthusiasm. Though the game is lost, many references exist to the cooling card, as in The True Tragedie of Richard III where Buckingham, attempting to mitigate Richard’s ambition, asks him to lay down a cooling card because this game is gone too far (Sc7 Sp7). As that … gall A proverbial distinction between the sweetness of honey and the bitterness of gall (Tilley H561). Gonorill’s otherwise happy life is, according to Ragan, tainted by Leir’s figuratively bitter presence. My father … will We already know of the situation with Gonorill, why does Ragan repeat this information? Read more about narrative over-determination in Scene 11 . quartermaster An administrator, or a sailor in charge of rations; here used figuratively. I’d send … packing
Ragan’s statement of intent worked like the machinations of a villain in a British pantomime. Read more about narrative over-determination in Scene 11 . Video Sc. 12 Scene 12
This scene sees the introduction of one of the most fascinating and engaging characters in the play—the Messenger/Murderer who will be employed by Gonorill and Ragan to kill Leir. The chemistry between Gonorill (Krist) and Nashman (Messenger) was very strong in this scene and the development of the character of the Messenger was the subject to much debate in the rehearsal room. Read more about the performance of Scene 12 . Ah, Gonorill
A photo of Jason Gray as Cornwall. Cornwall is a white man with a goatee and wearing a crown.
Jason Gray, playing Cornwall, struggled with the balance between the apparently astute, caring son-in-law and the character’s inability to see through his wife’s lies. Read more about performing Cornwall in Scene 12 . sequestered Removed; isolated from. Alas … well
Matthew Krist, performing Gonorill, played the aggrieved little girl here, undermining Cornwall’s concern by claiming exclusive rights over any grief caused by Leir’s sudden departure. Read more about performing Gonorill in Scene 12 . longest home The grave. Figuring death as a home was common in the period, as when John Florio, defining Pelliccieria in A World of Words (1598), identifies death as a mans last home (LEME). The grave is the longest home because it is the home in which one will live the longest. Whom sorrow … well Gonorill claims that she would be worried to death about Leir’s fate but that she knows his qualities so she knows that he is being obstreperous. stol’n upon Contrived to spend time with. I know … again
Matthew Krist (Gonorill) shifted tactics here adopting a calm reassuring tone as she described her father’s supposed playful intentions. Read more about performing Gonorill in Scene 12 . Therefore … long
For these last lines in the speech, Matthew Krist (Gonorill) openly flirted with Cornwall implying a particular type of frolicking might now be on the cards. Read more about performing Gonorill in Scene 12 . be frolic Feel mirthful. Cornwall
A photo of Jason Gray as Cornwall. Cornwall is a white man with a goatee and wearing a crown.
At this point, Cornwall seems quite astute but Jason Gray who played the role still had to balance this with the ease with which he is later duped. Read more about performing Cornwall in Scene 12 . temper Control, direct, or guide. sound rewards Significant remuneration. ratify Confirm. The messenger will, in Gonorill’s plot, tell lies that coincide with the lies she tells, thus making her seem sympathetic. haply Perhaps. common passenger A passenger was a traveler; Gonorill emphasizes commonness here in contrast with Leir’s kingliness. exclaim against me Gonorill worries here that Leir will speak ill of her. Thus … expel Proverbial (Tilley N17). Gonorill suggests that she will turn Leir’s words against him, making him seem awful each time he tries to make her seem awful. Enter the Messenger
In the SQM production, the Messenger was played by company clown Alon Nashman who hurried on the stage so fast () only to be pulled up short by Gonorill’s question creating a comic double-take that established the tone for this character and scene. Read more about performing the Messenger in Scene 12 . She opens them
Alon Nashman, playing the Messenger, first communicated his shock to the audience before addressing the queen. Read more about performing the Messenger in Scene 12 . neck-verse According to the law of the Benefit of Clergy, one could claim leniency in sentencing or one could claim to be beyond the jurisdiction of secular courts if one could demonstrate that one was a member of the clergy. Demonstrating one’s clerical status required a demonstration of ecclesiastical literacy, performed by reading in Latin the first verse of Psalm 51, known as the Miserere. Because reciting this verse could help one escape hanging, it was known as the neck-verse. This reference to a decidedly Christian custom is anachronistic. Ay … trussed up You won’t be hanged because you’re the queen, but I might be hanged (because I’m a mere messenger). The Messenger’s reference to his handsomeness seems, at this moment, out of place, unless we presume that the two are engaged in some sort of flirtation. The sense of flirtatiousness seems probable if one reads the Messenger’s trussed up as a double entendre, referring to the tying of hose to doublet in order to support a man’s codpiece.
The SQM actors played on the sexual references they found in the text and turned the scene into an extended flirtation between the two characters. The Messenger’s reference to himself as a handsome man () was also used as evidence to support casting this role as a clown. Read more about performing the Messenger in Scene 12 . handsome man
While Andrew’s suggestion that reference to his appearance might be a sign of flirtation is valid, I believe it is evidence that the role was played by the Queen’s Men clown, Richard Tarlton. Read more about performing the Messenger in Scene 12 . when … hanged Possible double entendre. This possibility seems more likely considering that the speech is riddled with such possible double entendres. See also next note. we make … thee We think highly of you. I am … words
Alon Nashman (Messenger) delivered these lines as an aside in which he shared his surprise and pleasure with the audience. Read more about performing the Messenger in Scene 12 . buckler A small round shield; the word was often applied to any shield.
The Messenger (Nashman) was given a small round shield in the SQM production. Read more about performing the Messenger in Scene 12 . all the members Possible double entendre. The possibility of a double entendre seems more likely considering that the speech is riddled with such possible double entendres. See also previous note.
A photo of Don Allison as King Leir. Leir is a white man with grey hair and a full beard. He is wearing a crown.
Alon Nashman (Messenger) indicated specifically which member he was referring to, making a comically innapporpriate sexual advance on the queen. Read more about performing the Messenger in Scene 12 . a scavenger’s horse A scavenger in early modern England would have been responsible for cleaning filth and detritus—such as dung—from the street. A strong bond
Alon Nashman (Messenger) dangled the purse from its string, testing its weight and making it clear that the strong bond was the power that money held over him. Read more about performing the Messenger in Scene 12 . let … negligence If I’m negligent, then you can hang me. oysterwife Women who sold seafood in markets; they were notoriously loudmouthed and vulgar. Billingsgate A ward in southeast London known in the sixteenth century as the site of a large market. By the beginning of the seventeenth century, Billingsgate was known principally for its fish market. Considering this association with a fish market, it is not surprising to find an oysterwife there.
The reference to the London locale was a factor in our perception of the clownish origins of the character. Read more about performing the Messenger in Scene 12 . railing Harshly complaining and scolding. whetted Honed, intensified, sharpened. choler Anger. According to theories of Galenic humoralism, an overabundance of choler or yellow bile in one’s body could make one short-tempered. Palermo Swords from Palermo, and from Italy generally, were said to be of the highest quality. Commend me … me
Suddenly the messenger turns to verse and speaks like a courtly lover, lending support to the actor’s interpretation of the character as a sophisticated social climber. Read more about performing the Messenger in Scene 12 . try me Attempt to use me in your plan, but also a double entendre, reiterating the flirtatious tenor of the dialogue. detracted Defamed. at variance At odds, or in dispute. the commons. The non-aristocratic members of the kingdom. a highway … friends Success will guarantee that you and those close to you will be advanced—financially and in terms of status—in the kingdom. conceit Conceive; think it done. as … cony A poulterer was a merchant who traded in poultry, eggs, and game; a cony was a rabbit, and rabbits were generally sold skinned. Cony, often spelled cunny, was also female pudendum, an endearment for one’s sweetheart, or the dupe of a trickster.
The use of reference points from the material world suggested the character is clownish rather than courtly in conception. Read more about performing the Messenger in Scene 12 . I thirst … it
Lines such as these could be used to create a blood-thirsty and heartless murderer intended to cause fear rather than elicit laughter. In the SQM staging, Alon Nashman developed a more humorous interpretation. Read more about performing the Messenger in Scene 12 . make him away Get rid of him; kill him. I fly, I fly
The line suggested a comically speedy exit to me but Alon Nashman created a laugh by speaking the line as he sauntered slowly off the stage. Gonorill (Krist) followed him off stage fanning herself with the letter as if to cool her blood after the heated sexual exchange of the scene. Read more about performing the Messenger in Scene 12 . Video Sc. 13 Scene 13
Julian DeZotti (Cordella) had to struggle with the idea of divine providence that is central to understanding this scene. Read more about the performance of Scene 13 . over-negligent
Cordella’s pious modesty was particularly difficult for the SQM actor to perform. Read more about the performance of Scene 13 . mirror of his time The Mirror was a popular genre of didactic literature in which tales of real or imagined figures were recorded for the edification of readers. To declare Gallia a mirror of zeal, justice, and kindness is patience is to declare that he is the model or mould of patience, from which individuals might learn what the virtue is. See also () where Gallia describes Cordella as a mirror of virtue; where Cordella describes to Gallia a mirror of zeal, justice, kindness, and care; and where Cordella describes Perillus as a Mirror of virtue and true honesty (). In True Tragedy, Mistress Shore uses the same language when figuring herself as the mirror of the country’s fall (Sc1 Sp10). pine Exhaust or languish, as well as inflict pain and suffering. sackcloth A coarse fabric, often worn by mourners or penitents, which indicates extreme poverty or humility. The image of herself that Cordella offers is drawn from Lamentations 2:10 where the elders of Zion respond to the Chaldean attacks on Jerusalem and the holy land: The elders of the daughter of Zion sit on the ground, and keep silence: they have cast up dust on their heads; they have girded themselves with sackcloth: the virgins of Jerusalem hang down their heads to the ground. The allusion to a nation’s trauma seems particularly apposite at this moment in Leir. mourning-wise … head The image of herself that Cordella offers is drawn from Lamentations 2:10 where the elders of Zion respond to the Chaldean attacks on Jerusalem and the holy land: The elders of the daughter of Zion sit on the ground, and keep silence: they have cast up dust on their heads; they have girded themselves with sackcloth: the virgins of Jerusalem hang down their heads to the ground. The allusion to a nation’s trauma seems particularly apposite at this moment in Leir. O sisters
Cordella expresses her bitterness towards her sisters but then subjugates those negative feelings through an act of forgiveness. This kind of action is particularly challenging for modern actors. Read more about the performance of Scene 13 . charity A generous Christian love. I will … church
Cordella’s religious piety was alien to Julian DeZotti, the actor playing the role in the SQM productions. Read more about performing the Messenger in Scene 12 . his Leir’s. Video Sc. 14 Scene 14
In rehearsal and performance, the SQM company were struck by the close connections between the scenes like this one depicting Leir’s suffering and Shakespeare’s scenes on the heath. Read more about the performance of Scene 14 . stay yourself Hold yourself up or support yourself.
A photo of Scene 14 from King Leir.
In performance the exhaustion of the old men was made clear and their physical attempts at supporting one another underlined the dialogues concern with friendship and the inversion of hierarchy. Read more about the performance of Scene 14 . uncouth Unfamiliar and strange. tireful Exhausting. a whit The smallest possible amount. According to Perillus, Leir has not given himself even the smallest break. guerdon Repay or reward; Leir is concerned that he has no token with which to acknowledge Perillus for his friendship, service, and loyalty. To think … do Perillus is despondent that Leir—once a king—is now powerless: Leir wants (i.e., lacks) the power that would automatically turn his will or desire into action. lord
Like the Gallian King in Scene 7 but for different reasons, Leir does not wish to be addressed as lord. In performance the difference between the Queen’s Men’s treatment of the inversion of authority and Shakespeare’s was striking. Read more about the Queen’s Men and Shakespeare in Scene 14 . shadow of myself
The actor playing Leir was struck by the close relationship between this line and the Fool’s line Lear’s shadow (Lr 4.199). Read more about the Queen’s Men and Shakespeare in Scene 14 . Whereas Where; a common usage of whereas in the period. to gratify To provide welcome. dissemble kindness
Performed as an aside to the audience, this line underlined the insincerity of Ragan’s upcoming welcome. Read more about performing Ragan in Scene 14 . indurable. Unbearable. This usage of indurable antedates the OED’s first usage of the word in 1607. disaster chance Terrible accident. spare Without any extra flesh (OED spare, adj. 1.4.a). speak for weeping
The moment was made more moving in performance by the audience’s awareness of Ragan’s insincerity. Read more about performing Ragan in Scene 14 . with finger … eye While feigning tears, or while sympathy seeking. See also Taming of the Shrew where Kate accuses Bianca of similar trickery (Shr 3.79–82). I do know
Derek Genova (Ragan) found it strange that she professes to know the import of the message she receives in the next scene. Read more about performing Ragan in Scene 14 . vain Foolish or thoughtless. Upon a spleen Acting with apparent caprice. According to Galenic humoral theory, the spleen produced black bile which was the cause of splenetic melancholia. Often, and more generally, disturbances in the spleen were associated with moodiness and erratic behaviour. made on Fussed over. fair weather
Since Ragan has made her wicked intentions towards her father clear, the only justification for her reaction to Gonorill’s letter is that it marks the abandonment of her performance of fair weather. Read more about narrative over-determination in Scene 14 . Video Sc. 15 Scene 15
Through this section of the play the complex Messenger character became an increasingly dominant presence. In this scene the character shifts between courtly poetry and colloquial prose making interpretation of is background difficult. Read more about the performance of Scene 15 . stately palace
The complex messenger character enters here speaking courtly prose. Read more about performing the Messenger in Scene 15 . heaven preserve
The messenger appears at this point to be a master of courtly etiquette, an impression that contradicts his behavior and language elsewhere in the play. Read more about performing the Messenger in Scene 15 . residue The rest of the message—besides the greeting from Gonorill—is contained in the letter.
The messenger appears to be a courtly sophisticate at this point but the impression is not sustained throughout the scene. Read more about performing the Messenger in Scene 15 . See how … me David Roberts detects a parallel here with Shakespeare’s Henry VIII where Norfolk describes how Wolsey has reacted to news of Henry’s discovery of Wolsey’s correspondence with the Pope (Roberts 302): Some strange commotion / Is in his brain. He bites his lip, and starts, / Stops on a sudden, looks upon the ground, / Then lays his finger on his temple; straight / Springs out into fast gait, then stops again, / Strikes his breast hard, and anon he casts / His eye against the moon (H8 3.2.113–119). dumbshow Part of a play featuring action but no speech. Dumbshows were quite popular in early modern drama, and were sometimes included an onstage interpreter who would explain the action to the audience. At this moment in Leir, the messenger is playing the role of interpreter. The Mousetrap scene in Hamlet provides another example of the dumbshow with interpreter (Ham 9).
In performance the Messenger’s observations of the dumbshow was funny even though Ragan’s reaction would lead her to order the murder of her father. Read more about medley style in Scene 15 . crowns A gold coin worth five shillings, named for the image of a crown imprinted upon it. That … head According to the visions of marriage operating in early modern England, the wife was often figured as the body to her husband’s head. According to this homology, the husband provided direction and guidance as the head of a household while the wife enacted or performed those tasks that the husband thought fit. The precise language here is informed by a passage in St. Paul’s letter to the Ephesians (5:22–25): Ye women, submit your selves unto your own husbands, as unto the Lord. For the husband is the wife’s head, even as Christ is the head of the Church, and he is the saviour of the whole body. Therefore as the Church in congregation is subject unto Christ: so likewise let the wives be in subjection unto their own husbands in all things. English priests were directed by The Book of Common Prayer to read to new husbands and wives. See also Shakespeare’s Life and Times. hop without a head Be beheaded (OED headless, adj. 1.b). Thomas H. McNeal finds a parallel here with Henry VI, Part 2 where Margaret of Anjou declares that she Would make thee quickly hop without thy head (2H6 3.136). fact Crime. cavillations Quibbles or unfair objections. stratagem Scheme or plot. compact Packed tight with. adamant A fabulous mineral valued by alchemists for its remarkable hardness. Throughout the sixteenth century, the precise nature of adamant remained unclear. At times, it was figured to be diamond, though it was also said to share properties with lodestone or magnetite. As the OED notes, it was generally used as a synonym for diamond during the seventeenth century.
A reference point that suggests the Messenger is well educated. What exactly is the social status and background of this character? Read more about performing the Messenger in Scene 15 . respect … flea Care about the killing of a flea.
The Messenger here uses a reference point out of keeping with his presentation as a courtly sophisticate prior to this moment in the scene. Read more about performing the Messenger in Scene 15 . we make … thee We are certain of your trustworthiness. drink … sake Ragan says that she’d like the messenger to buy a drink with the tip she gives him; this tip is clearly payment for the murder she expects him to commit. Why … neither As with many of the messenger’s lines, this one is sexually loaded.
The challenge for the SQM company was to decide whether his sexual references defined him as rude and brash, or soave and courtly. Read more about performing the Messenger in Scene 15 . Video Sc. 16 Scene 16
A photo of Gallia and Cordella standing across from each other. Cordella’s hands are folded in front of her. Gallia has a hand on his heart.
This scene featres two virtuous characters being nice to each other—not the common recipe for high drama. The SQM actors worked hard to uncover the charm of this scene. Read more about the performance of Scene 16 . deignst To vouchsafe or grant. Yet pity me
A photo of Paul Hopkins as Gallia. Gallia is a white man wearing a dark blue outfit and silver cape. He is gesturing with one hand.
Gallia is a loving husband but Paul Hopkins felt that Cordella’s persistent grief was wearing his patience thin. Read more about performing Gallia in Scene 16 . a whit In the least. For I … lent It is natural that I would be sad at the bad wishes of he who first gave life to. If … remain A confusing metaphor: If the trunk is dried (with cruel indifference?) then the branch growing from that trunk will be withered and desiccated. According to the logic of the analogy that she draws here Cordella imagines that she will remain sad as long as Leir remains unkind graft Splice a shoot from one stock into the body of another stock, producing a hybrid.
A photo of Paul Hopkins as Gallia. Gallia is a white man wearing a dark blue outfit and silver cape. He is gesturing with one hand.
Gallia persuades Cordella using arguments she used earlier to justify her response to her father in the love test. Read more about performing Gallia in Scene 16 . stock Gallia puns on stalk and stock here, suggesting that Cordella has become part of his stock, or family. my root
A photo of Paul Hopkins as Gallia. Gallia is a white man wearing a dark blue outfit and silver cape. He is gesturing with one hand.
Hopkins (Gallia) gave these lines a sexual connotation that lent the scene a flirtatious quality and made one aspect of his motivation clear. Read more about performing Gallia in Scene 16 . Forget thy father As husband, Gallia can expect to be given priority over her father but asking her to forget him pushes the matter a little too far. Hopkins (Gallia) used this as a sign of youthful impatience with Cordella’s grief. Read more about performing Gallia in Scene 16 . inhumane Not exhibiting characteristics of the human. unkindly Cruelly, but also against the law of kin or kind. Embrace the joys Paul Hopkins played Gallia as a young prince, passionately in love with his wife but here showing some signs of impatience. His desire to end his wife’s grief became the driving force in the scene. Read more about performing Gallia in Scene 16 . present Here and now. pack Leave. Not … father Cordella’s virtuous dedication to both husband and father presented the SQM actor a difficult challenge. The list of metaphors in this speech all justify Cordella’s continuing grief for the loss of her father’s love. Read more about performing Cordella in Scene 16 . distemperate disordered. According to theories of Galenic humoralism, character was in part determined by the relative proportion of four humors (choler, blood, black bile, and phlegm) circulating in the body. Because each of these humours was associated with a specific degree of heat and humidity, to suggest that one is distemperate is to suggest that one is humorally out of balance. stay Feed or nourish. As easy … skin Proverbial (Tilley). Which all … nature All of which preceding examples are opposite to the normal course of nature. Mirror of virtue Hopkins (Gallia) directed this line to members of the audience as if presenting his wife as an examplar of virtue. Read more about performing Gallia in Scene 16 . Phoenix … age The phoenix is a mythical bird said to immolate itself every 500 or 1000 years; from the ashes of the fire, a young phoenix emerges. By declaring Cordella the Phoenix of our age, Leir suggests that her kindness speaks to a redemption of the cultural debasement that Perillus identifies at . whereas Where. kindest Most well bred, most gracious, most generous. suffice the turn Serve the purpose. we’ll furnish … fleet This was clearly an attractive prospect for the adventure loving prince in the SQM productions. Read more about performing Gallia in Scene 16 . Video Sc. 17 Scene 17
The SQM actors found the less formal style of this scene more familiar and were able to track the course of the action with little difficulty. Read more about the performance of Scene 17 . It … world It’s wonderful. flush Carrying significant amonuts of money. kiss their hands A sign of respect.
A photo of the messenger in King Leir.
The lowly messenger from Billingsgate has risen to become an important courtier. The defintion of the social status of this character was an on-going issue in the SQM rehearsals. Read more about performing the Messenger in Scene 17 . for to derive To get. crowns
A photo of the messenger in King Leir.
The Messenger’s desire for wealth drives him towards murder. The corrupting influence of money was a common topic in early modern England and it will lead the Messenger into a moral crisis in Scene 19. Read more about performing the Messenger in Scene 17 . poor man
A photo of the messenger in King Leir.
The reference to the Messenger as a poor man supports the idea that the character might have been conceived as a clown. Read more about performing the Messenger in Scene 17 . yesternight The previous night. a thing … consequence A matter of extreme importance. Ah … be done
Derek Genova (Ragan) played this moment with a lack of sincerity that belied the modesty his character was professing. Her murderous intent was perfectly clear in the SQM production. Read more about performing Ragan in Scene 17 . Ay The scene is less formal than others in the play but is still carefully structured around this one syllable. Read more about the performance of Scene 17 . recompense Reward or payment. with my teeth
A photo of the messenger in King Leir.
Alon Nashman (Messenger) thrust his head forward on this line and showed his teeth, comically inviting further payment. Read more about performing the Messenger in Scene 17 . by a wile With a deception or crafty scheme. thicket Growth of shrubs and small trees. mistrust thee … fact Suspect you of committing the crime. prosecute Complete or perform. faint Falter or weaken. the pipe … Argos According to Ovid in Book I of the Metamorphoses, Mercury was sent by Jove to kill Argos, a hundred-eyed giant who was guarding the nymph Io. Jove loved Io, and transformed her into a cow to protect her from Juno, his jealous wife, before Juno gained control of Io and had her guarded by Argos. Mercury played his pipe until Argos fell asleep; subsequently, he beat Argos to death with a rock. See the Metamorphoses, Book 1.
A photo of the messenger in King Leir.
The poor man () here reveals he has has a classical education. The social status of this character was much debated in the SQM rehearsals. Read more about performing the Messenger in Scene 17 . here are words
A photo of the messenger in King Leir.
Alon Nashman (Messenger) jingled his bags of money when he said here, to indicate the source of his motivation. Read more about performing the Messenger in Scene 17 . dispatched A loaded quibble: to dispatch might mean to finish the chore, but also might mean, euphemistically, to murder. I’ll find … him I’ll find a way to have you killed.
In spite of her earlier protestation of shame for her intentions (), Ragan here reveals her true ruthlessness. Read more about performing Ragan in Scene 17 . Video Sc. 18 Scene 18
A fascinating scene that depicts high diplomacy between nations through repeated comic misunderstandings but I felt we never quite made it work in performance. Read more about the performance of Scene 18 . I wonder … suspense
Cornwall shows himself more concerned with his affairs of state and less easily deflected by the manipulations of his wife in this scene. Read more about the performing Cornwall in Scene 18 . stay Tarry. dispatched for Cambria Sent, with messages, to Cambria. And he … delay Cornwall obviously means the opposite here: if the messenger does not show good reason for delay, then the messenger would be punished. It is possible that we are to take And for An or An if, meaning, if. Enter Servant In the SQM production the actor that played Cornwall’s servant in Scene 5 (Kynaston) also played this servant. Having established the idea that the servant was constantly tired in the earlier scene, he created comic business that was not implied by the text, arriving on stage out of breath and then forgetting where the Ambassador has come from. The SQM company were encouraged to add physical comedy to their performances in this way.
Watch video of Scene 18 on Performing the Queen’s Men. (Video footage is password protected. Click on Cancel in the pop-up window to obtain password). An’t If it. Is not … thither Since Leir has not yet left for Gallia, and thither appears to refer to Gallia, this line is odd and we never really found an adequate way to justify it. In the video of performance this is apparent from the way Cornwall (Gray) rushes through the words.
Visit Performing the Queen’s Men. (Video footage is password protected. Click on Cancel in the pop-up window to obtain password). Enter Ambassador
Effectively interpreting this character proved a complex challenge for the SQM company. Should he be given respect for his status or treated as a figure of fun? Read more about the performance of Scene 18 . Why … him
Gonorill took immediate offence to the Ambassador’s refusal to deliver the message to her. The vehemence of her objection surprised our Ambassador but cannot alert him to her true intentions as he remains oblivious to this throughout this scene. Read more about the performance of Scene 18 . had in charge Was ordered. brook … France Enjoy the French climate. The question is conspicuous in its superficiality considering the circumstances—after Cordella has been disowned—in which they are uttered. sorry
Gonorill is speaking the truth here but then twists her words to convince the Ambassador of her good intentions. The SQM company approached Gonorill’s double-speak as if intended to produce laughter but the scene never really worked in this way. Read more about the performance of Scene 18 . Why, her health
Gonorill delivered this line with an insincerity that was apparent to the audience but not noticed by the Ambassador. We expected the scene to be funny and yet it never quite worked. Read more about the performance of Scene 18 . send Put. expiate To mitigate or assuage, generally by paying a penance or making reparations. It shows … mind
This implies the Ambassador is completely fooled by the Queen. Should be be a figure of fun? Read more about the performance of Scene 18 . It shows … blind
Is Gonorill’s assessment of the Ambassador’s understanding accurate? His statement implies he is completely fooled by the Queen (). Should be be a figure of fun? Read more about the performance of Scene 18 . Video Sc. 19 Scene 19
A photo from Scene 19 of King Leir.
The mix of high drama with traditionally comic devices make this scene one of the most intriguing in the play. The SQM company process revealed the effectiveness of the combination and the dymamic possibilities of the Queen’s Men dramaturgy. Read more about the performance of Scene 19 . ’Tis news It’s novel. rathe Early or before the usual hour. extreme heavy Very tired. book As it becomes subsequently clear—when the Messenger points out that Leir and Perillus have prayed themselves to sleep ()—the book in Leir’s hand is a bible or a prayer book. good-fellows Thieves. We … them Ironic; two old exhausted men are not in a good position to fight with thieves. stand upon … hands Battle, or use hands or weapons to fight. I fear … legs Responding to Leir’s preceding line where he describes their inability to stand—or rely on—their hands in a fight, Perillus puns on stand to emphasize that they are incapable of defending themselves. pray to God Leir’s trust in God to protect him proves well-founded in this play. The SQM company worked to make the power of God’s providential justice apparent in their production. Read more about the performance of Scene 19 . They fall … asleep
A photo of Leir’s face. He is not wearing his crown and is gazing downwards with a frown and furrowed brow.
The ease with which the characters fall asleep while out in the wilderness was charming and playful. The scene operates in the world of romance and its mix of comic devices and high drama worked very well for our modern audience. Read more about medley style in Scene 19 . Were … mad jest A potential parallel with the Gadshill scene in the Queen’s Men’s Famous Victories of Henry V (FV, starting at Sc3.Sp32). See also Shakespeare’s Gadshill scene, Henry IV, Part 1 (1H4 2.2). A potential parallel with the Gadshill scene in the Queen’s Men’s Famous Victories of Henry V (S2 Sp33). See also Shakespeare’s Gadshill scene, Henry IV, Part 1 (1H4 2.2).
A photo of the messenger’s face. The messenger is a white man with salt-and-pepper hair and a trimmed beard. His mouth is open to speak and his eyebrows are raised.
The Messenger enters speaking colloquial and light-hearted prose. Balancing the comedy with the violent intent of the character proved challenging for the SQM actor playing the role. Read more about performing the Messenger in Scene 19 . Sees them … starts
A photo of the messenger’s face. The messenger is a white man with salt-and-pepper hair and a trimmed beard. His mouth is open to speak and his eyebrows are raised.
The stage direction implies a comic double-take, one of several traditional comic devices in this high stakes scene. Should the scene be played for laughs or to generate suspense? Read more about medley style in Scene 19 . starts Is markedly startled. youths An ironic diminutive, one Shakespeare borrows in Henry IV, Part 2, when Falstaff insists on referring to himself and the Lord Chief Justice as youth (2H4 3.141–150). Mass A mild oath; short for by the mass. unawares Without their being alerted to my presence at first. They wake … rise Robert Adger Law draws significant scenic parallels between this scene of failed assassination and Act 1, Scene 4 of Richard III where Clarence, faced with his murderers, claims that Richard will reward them, even though the murders were sent by Richard (R3 1.4). Persuade him … true
A photo of the messenger’s face. The messenger is a white man with salt-and-pepper hair and a trimmed beard. His mouth is open to speak and his eyebrows are raised.
The Messenger’s asides here could be used for comic effect or to increase the anticipation of danger. The SQM actor found a balance between the two. Read more about performing the Messenger in Scene 19 . what … it What was your dream about? portends Foretells or bodes. grim aspects Angry faces. falchion A broad, curved sword; often used to refer to a sword of any kind. poniard A small, slim dagger. balsam A balm or an oily ointment regarded for its fragrance curative properties, often derived from the secretions of trees or herbs. erst At first. I’ll make … presently
A photo of the messenger’s face. The messenger is a white man with salt-and-pepper hair and a trimmed beard. His mouth is open to speak and his eyebrows are raised.
In the SQM production, the Messenger’s threat escalated the drama in the scene but also had a playful quality, as if he was performing a mad jest () on the old men. Read more about performing the Messenger in Scene 19 . presently Immediately. Stand Halt! They reel
A photo of Leir’s face. He is not wearing his crown and is gazing downwards with a frown and furrowed brow.
The stage direction suggested more comic action to the SQM company and the actors needed to decide how much of a clownish quality could be given to the performance of Leir and his friend. Read more about performing Leir in Scene 24 . Deliver, deliver The standard request of highwaymen, insisting that their victims deliver their goods to the hands of the robber. halberds A military weapon that combines a spear and a battleaxe. The Messenger is here speaking figuratively of the prayerbooks that Leir and Perillus had been reading when they fell asleep. In this analogy, the prayerbooks are imagined to offer the same sort of protection that a halberd can provide. delivered Rescued. stay Resources; staying power. watch and pray This line—much like the action of the scene—echoes the biblical description of Christ’s disciples at the Mount of Olives when they slept as Christ wept and prayed, even though Christ had asked them to keep watch. See Matthew 26, esp. 26:41, Watch and pray, that ye enter not into temptation. ’Sblood … scraping thus
A photo of the messenger’s face. The messenger is a white man with salt-and-pepper hair and a trimmed beard. His mouth is open to speak and his eyebrows are raised.
Another aside that could be delivered vindictively or with a more light-hearted touch—the Messenger can playfully share his reaction to the old men’s fear with the audience. Read more about performing the Messenger in Scene 19 . claws me … elbow Acts obsequiously. Scraping—as in to bow and scrape—is characteristic behaviour of a dog. belike Or so it seems; it’s as if. scraping Exaggerated subservience; the phrase expands on the image of clawing in the preceding line. Puts them … pocket
A photo of the messenger’s face. The messenger is a white man with salt-and-pepper hair and a trimmed beard. His mouth is open to speak and his eyebrows are raised.
It always got a laugh in performance when the Messenger put the purses in his pocket immediately after he said he would have none of them (). This was another sign of the dynamic mix of comedy and high drama in this scene. Read more about medley style in Scene 24 . to use … queen Employ me in discussions or negotiations with the queen. pleasure thee Provide you with satisfaction. They … to go
A photo of Leir’s face. He is not wearing his crown and is gazing downwards with a frown and furrowed brow.
The first of three false exits indicated in the text—another staple device of physical comedians. Finding the right balance of comedy and high drama was an exciting challenge for the SQM company. Read more about performance of Scene 29 . proffer To propose or to make an offer for the consent of another. Do … ask
A photo of the messenger’s face. The messenger is a white man with salt-and-pepper hair and a trimmed beard. His mouth is open to speak and his eyebrows are raised.
These lines begin an elaborate jest the Messenger plays on Leir and Perillus, getting them to promise to do a favour for him, and then asking them to kill themselves. The mix of comic and serious intent was fun to play with in performance. Read more about the performance of Scene 19 . Here … it Leir raises his hand towards heaven, a sign that accompanies the taking of an oath. The SQM company did not understand the significance of this line and Leir offered to shake the Messenger’s hand. A gesture that seemed odd to me at the time but was never corrected. proffers to go
A photo of Leir’s face. He is not wearing his crown and is gazing downwards with a frown and furrowed brow.
The second of three false exits indicated in the text—another staple device of physical comedians. Finding the right balance of comedy and high drama was an exciting challenge for the SQM company. Read more about the performance of Scene 24 . dissemble with Deceive or play games with. vantage Advantage. gear Stuff, matter, property. recant Disavow a previous statement. try him … wilt Test his promise whenever you like (and you will find that he lives up to it). They proffer … out
A photo of Leir’s face. He is not wearing his crown and is gazing downwards with a frown and furrowed brow.
The third of three false exits indicated in the text—another staple device of physical comedians. Finding the right balance of comedy and high drama was an exciting challenge for the SQM company. Read more about the performance of Scene 24 . Do me … yourselves
A photo of the messenger’s face. The messenger is a white man with salt-and-pepper hair and a trimmed beard. His mouth is open to speak and his eyebrows are raised.
This line is the punchline of a joke started by the Messenger at . It always got a laugh in performance in spite of the fact that the king’s life was in danger. Read more about the performance of Scene 24 . Damon Properly Damon, Leir refers to the Greek story of Damon and Pythias who were often figured as ideal friends in early modern England. The story of Damon and Pythias resonates powerfully here. According to the story told by Cicero, Pythias was accused of plotting treason against the tyrant of Syracuse, Dionysius I, and was sentenced to death. Knowing that Pythias needed to have his family affairs in order before death, Damon offered to stand in for Pythias while Pythias traveled to their home city and bid loved ones farewell. After the date of Pythias’ planned return had passed, Dionysius I prepared to execute Damon in Pythias’ stead, thinking that Pythias had betrayed Damon. As the executioner prepared to execute Damon, Pythias arrived in Syracuse, explaining that his ship had been wrecked when returning to Syracuse and that he had struggled to get back and face his fate. After Damon offered his explanation, Damon and Pythias each pleaded to be executed instead of the other. Seeing this display of friendship and loyalty, Dionysius I granted Pythias a reprieve and invited both men to serve as councilors in his court. The story was dramatized c.1574 by Richard Edwards in Damon and Pithias and ridiculed in the Act 5 puppet-show of Ben Jonson’s Bartholomew Fair, where Dionysius has another role as resolver of conflict. And make … come Leir thinks that they should prepare themselves for death by praying. of purpose On purpose. are so wicked
A photo of the messenger’s face. The messenger is a white man with salt-and-pepper hair and a trimmed beard. His mouth is open to speak and his eyebrows are raised.
Alon Nashman played the Messenger as if he had been presuming Leir was getting what his just desserts for mistreating his daughters. Read more about the performance of Scene 24 . short Shorten. Cam’st thou … this
A photo of Leir’s face. He is not wearing his crown and is gazing downwards with a frown and furrowed brow.
Leir here presumes that Cordella has sent the Messenger to murder him; the Messenger is understandably surprised. Read more about the performance of Scene 24 . From France
A photo of the messenger’s face. The messenger is a white man with salt-and-pepper hair and a trimmed beard. His mouth is open to speak and his eyebrows are raised.
The offence that the Messenger takes at being thought French is overtly comic and the character reverts back to colloquial prose as he shares his outrage with the audience. Read more about performing the Messenger in Scene 19 . ’Zoons An oath; abbreviated from by God’s wounds, in reference to the wounds of the crucifixion. Sirrah A term of address indicating the subservience of the person addressed; it generally indicates the speaker’s contempt. the fashion Characteristic attractiveness (potentially despoiled by his angry glares). The Messenger might also mean that he will cut his own face just to be sure that it no longer looks French. Because of the ambiguous pronoun in this face, it is also possible that the Messenger is threatening to cut Leir’s face because he is angry that Leir has described his face as French-looking. perfect gentleman
A photo of the messenger’s face. The messenger is a white man with salt-and-pepper hair and a trimmed beard. His mouth is open to speak and his eyebrows are raised.
The social status of the Messenger character was an on-going puzzle for the SQM company. Read more about performing the Messenger in Scene 19 . churl Literally, a peasant farmer, but used figuratively for any mean-minded old man. thou are Thou art would be typical early modern usage. For her except Excluding her (i.e., Cordella). heaven’s bright eye The sun. sure thou … mark Certainly you have missed your target (as in archery). Thy own Thine own is typical early modern usage. thy own Thine own is typical early modern usage. issue Children. t’abridge thy fate To cut short your life. And thou … doomsday According to many early modern theologians such as William Tyndale and Martin Luther, the soul remained dormant after the body’s death until the body and soul were reunited at the final judgment. There was little consensus on so-called soul-sleeping in early modern England, just as there was little consensus on the precise state or location of the soul between the moment of corporeal death and the final judgment. except your lives
A photo of the messenger’s face. The messenger is a white man with salt-and-pepper hair and a trimmed beard. His mouth is open to speak and his eyebrows are raised.
Alon Nashman (Messenger) managed to turn this line into a sinister joke. Read more about performing the Messenger in Scene 19 . That … I swear James H. Jones detects here and in the following lines a parallel with Matthew 5:33–37: Again, ye have heard that it hath been said by them of old time, Thou shalt not forswear thyself, but shalt perform unto the Lord thine oaths: But I say unto you, Swear not at all; neither by heaven; for it is God’s throne: Nor by the earth; for it is his footstool: neither by Jerusalem; for it is the city of the great King. Neither shalt thou swear by thy head, because thou canst not make one hair white or black. But let your communication be, Yea, yea; Nay, nay: for whatsoever is more than these cometh of evil (Matthew 5:33–37). Shakespeare’s Lear also draws from the same section of Matthew 5, where Lear declares, speaking of Gonerill and Regan: They flattered me like a dog, and told me I had white hairs in my beard ere the black ones were there. To say ay and no to everything I said ay and no to was no good divinity (Lr 20.93–95). Swear not … acts
A photo of Leir’s face. He is not wearing his crown and is gazing downwards with a frown and furrowed brow.
Don Allison (Leir) demanded proof of his daughter’s murderous intent with commanding tones, lending justification to the Messenger’s fear that Leir is some strong magician (). Read more about performing Leir in Scene 24 . Thunder and lightning
A photo of the messenger’s face. The messenger is a white man with salt-and-pepper hair and a trimmed beard. His mouth is open to speak and his eyebrows are raised.
The SQM company tried to emphasize the power of the thunder and an extension of Leir’s power as God’s anointed ruler, emphasizing one of the key differences with Shakespeare’s play. Read more about the Queen’s Men and Shakespeare in Scene 24 . I would … again
A photo of the messenger’s face. The messenger is a white man with salt-and-pepper hair and a trimmed beard. His mouth is open to speak and his eyebrows are raised.
In the hands of Alon Nashman (Messenger) this line was laugh line delivered even at the dramatic climax of the scene. The clown here becomes focus of his own moral dilemma. Read more about performing the Messenger in Scene 19 . Shall … credit The company clown (Nashman) is now locked in a moral dilemma. His lines were directed to the audience and continued to combine comedy with an emotioinal engagement with the stakes of the scene. Read more about performing the Messenger in Scene 19 . crack my credit Spoil my reputation. Oh … first The phrasing here echoes Matthew 12:34: O generation of vipers, how can ye, being evil, speak good things? for out of the abundance of the heart the mouth speaketh. The play’s viperous children also match up with early modern folk knowledge of vipers, which were thought to eat their parents. As Pericles explains in Pericles: I am no viper, yet I feed / On mother’s flesh which did me breed (Per 2.65–66). latest Final. Withal At the same time; while you are doing this. charity Godly felicity. meaneth Will be able to. passport … sealed Referring to the money in his pocket, the messenger figures the money given to him by Ragan as the money paid for Perillus’ ticket to the afterlife. The seal authorizing a passport here becomes the seal on the coins that gives them their value. ride post Deliver a message on horseback. It skilleth … me It doesn’t matter from my point of view. rife Prevalent or widespread. Upon … Lord A reference to the divine right of kings, according to which monarchs were thought to be chosen by God. The rhetoric of divine right saturated political discourse in early modern England, and was most clearly formalized in the early seventeenth century with reign of King James. In an address to parliament in 1610, for instance, James unambiguously declared the State of Monarchy is the supremest thing on earth: for kings are not only God’s lieutenants upon earth and sit upon God’s throne, but even by God himself they are called Gods (Sommerville 181). This same sentiment informs Richard II’s famous speech in Richard II where he declares that Not all the water in the rough rude sea / Can wash the balm off from a ’nointed king. / The breath of worldly men cannot depose / The deputy elected by the Lord (R2 3.2.50–53) On the political theology of early modern England, see Ian Ward, Shakespeare and the Legal Imagination, esp. 20–43. commission Official work order. whereas Where. like Similar. I am … little
A photo of the messenger’s face. The messenger is a white man with salt-and-pepper hair and a trimmed beard. His mouth is open to speak and his eyebrows are raised.
Having maintained his conviction to follow through on the queen’s instructions for several lines, the Messenger reveals he still has his doubts. The comic understatement of the line and Nashman’s plaintive delivery encouraged laughter in the SQM prodution. Read more about performing the Messenger in Scene 19 . My friend … tell
A photo from Scene 19 of King Leir.
As Perillus makes his final plea to spare his king’s life, the Messenger was placed between the two old men with daggers ready to strike. The effect of Perillus’ words was made apparent on Nashman’s face, increasing in intensity as the speech built towards its climax. Read more about the performance of Scene 19 . We have … presently We don’t have it on hand at the moment. It thunders
A photo from Scene 19 of King Leir.
The SQM company designed this moment to make the thunder a sign of God’s justice and the final argument that makes the Messenger relent. Read more about the Queen’s Men and Shakespeare in Scene 24 . spark of grace Innate, God-given virtue. Beshrew you Curse you.
A photo of the messenger’s face. The messenger is a white man with salt-and-pepper hair and a trimmed beard. His mouth is open to speak and his eyebrows are raised.
The Messenger’s frustration with the old men for finding his spark of grace () brought a laugh to accompany the happy resolution of the scene. Read more about performing the Messenger in Scene 19 . parlousest Most dangerously clever. Well … flat To speak plainly. why … stands Why the situation is what it is (i.e., why you are alive). It shall … re-greet It will be difficult, but I will salute you (despite your recent actions). Exit Messenger The precise moment of the Messenger’s exit is unclear. It is possible that he begins walking out at this point and that Perillus’ subsequent line to the Messenger is delivered to his quickly disappearing back. Otherwise, it is possible that the Messenger leaves only after Perillus delivers his farewell. overpast Already traversed or behind us. hie us Let’s go. succor Assist or aid. not … desert Not because I have earned it; any forgiveness Leir receives—either divine or from Cordella—will be an act of grace. Video Sc. 20 Scene 20
A photo from Scene 20 of King Leir
Another of the series of short monologues here featuring the Gallian Ambassdor. The function of these monologues, and the best approach to this character, proved challenging in the SQM production. Read more about the performance of Scene 20 . louring Scowling. Would take exceptions
We have already seen Gonorill take exception at his words so the repetition of this information was puzzling to the SQM company. Read more about narrative over-determination in Scene 20 . undermined Compromised; the term is drawn from the world of warfare where tunnels would be dug under a wall and that wall would be blown up with mines from beneath, or undermined. fain Gladly. import Foretell. But she … hope She will likely be explosively angry if her will remains unfulfilled. The phrase may anticipate the first use of hopping mad in 1665 (OED hopping, adj.1).
Phil Borg (Ambassador) used the alliteration in this line to give his speech a playful tone in keeping with our comic interpretation of his character. In retrospect, this may not have been the best approach. Read more about performing the Gallian Ambassador in Scene 20 . Video Sc. 21 Scene 21
A photo of Gallia, Cordella, and Mumford from Scene 21.
This playful little scene helped the cast build strong relationships between Gallia, Cordella and Mumford. Read more about the performance of Scene 21 . By this Ambiguous. Gallia perhaps gestures towards a letter he intends to send—by way of this letter—to reinforce the message his ambassador has already delivered. It makes sense that Gallia would carry on a letter here but this textual clue was missed in the SQM production. I fear … unkind
A photo of Julian DeZotti as Cordella. Cordella is a white woman wearing a blue and white outfit and standing with her hands folded in front of herself
Cordella is still deeply concerned about her father but this scene presented DeZotti (Cordella) the opportunity to reveal a more playful side to his character. Read more about performing Cordella in Scene 21 . The last … first If Leir refuses to respond to their first overtures, then this most recent overture will. my wench
A photo of Alon Nashman as Mumford. He is smiling.
Mumford’s sexual adventurism was key to Alon Nashman’s interpretation of the character. Read more about performing Mumford in Scene 21 . forsworn Perjured; falsely sworn. maid Maiden; unmarried woman; virgin. The senses are confused in this exchange, leading to bawdy quibbling over the virginity of Mumford’s beloved.
A photo of Julian DeZotti as Cordella. Cordella is a white woman wearing a blue and white outfit and standing with her hands folded in front of herself
Cordella here begins a bawdy conversation with Mumford, an opportunity for the actor to reveal a more playful side of the character. Read more about performing Cordella in Scene 21 . but … one She passes for one. at all adventures Despite the risk (that she is not a virgin). Ay … in Well said, with double entendre on put in.
A photo of Julian DeZotti as Cordella. Cordella is a white woman wearing a blue and white outfit and standing with her hands folded in front of herself
The sexual word play in this scene at first seemed out of keeping with the virtuous Cordella but by embracing it the SQM actor (DeZotti) created a more rounded character, moving beyond our initially limited conception of her role in the play. Read more about performing Cordella in Scene 21 . were … she Were I in her positio.n behind you Ambiguous; perhaps a word is missing from Q: I’d stay behind with you. proper Handsome.
A photo of Alon Nashman as Mumford. He is smiling.
In our production, Mumford was cast as a clown and Cordella’s reference to his appearance was ironic. Read more about performing Mumford in Scene 21 . more than … do More than she would usually do, or more than she desires to do. I have … nonce I have a pair of breeches that will serve the purpose. Dutch slops were particularly baggy breeches that would be roomy enough to hold anything one wanted to put inside. Richard Tarlton, the famous Queen’s Men clown, was known for wearing slops. This evidence influenced the casting of the role of Mumford. Read more about performing Mumford in Scene 4 . More bobs, more Continue to insult me; it’s fine (ironically). A bob is a trick, deception, or befoolment (OED bob, n.2 1). bombast Stuffing used to add fullness to clothing. my mistress’ quarrel My struggle to win my mistress. Ay … turn Carting—or public exposure, dragged behind a car—was a punishment for premarital sex. Cordella and Gallia are teasing Mumford for boasting that ten teams of horses couldn’t separate him from his beloved, but they turn this declaration into a sex joke: serve the turn is also a euphemism for have sexual contact, as in Othello where Othello declares erroneously that Desdemona can turn and turn (Oth 4.1.235). I’ll … over I give up. by this hand
A photo of Alon Nashman as Mumford. He is smiling.
Nashman (Mumford) raised his hand at this point as if swearing in at court. Picking up on his character’s legal language, he parodied the style of a trial for the following exchange. Read more about performing Mumford in Scene 21 . Prithee, Lord Mumford
A photo of Paul Hopkins as Gallia. Gallia is wearing a dark blue outfit with a silver cape and golden crown. He is standing with his head turned to the side.
The SQM Gallia (Hopkins) was always willing to engage with Mumford’s foolery. The playful and adventurous prince brought much comic spirit to the play and helped drive the action towards its happy conclusion. Read more about performing Gallia in Scene 21 . very now Right now. go in progress Travel elaborately. Generally, a progress involved a significant degree of formality, and was undertaken only by those of high standing. motion Proposal; suggestion.
A photo of Paul Hopkins as Gallia. Gallia is wearing a dark blue outfit with a silver cape and golden crown. He is standing with his head turned to the side.
Hopkins (Gallia) picked up on the legal game started by Mumford (), adopting a formal pose as he proposed a trip to the beach. Read more about performing Gallia in Scene 21 . mediator Intermediary. match Proposal (i.e., the trip to the beach). Entreaty … may command
A photo of Julian DeZotti as Cordella. Cordella is a white woman wearing a blue and white outfit and standing with her hands folded in front of herself
The virtuous Cordella here acknowledges her obedience to her husband but this scene has also revealed a less contained and conventional side of her character. Read more about performing Cordella in Scene 21 . So … pleased If it will make you happy. Yet as Though. She means that she is leery of public displays even though she would love to see the sea where she will be subject to such displays. We’ll go disguised
A photo of Paul Hopkins as Gallia. Gallia is wearing a dark blue outfit with a silver cape and golden crown. He is standing with his head turned to the side.
There was nothing the SQM Gallian king liked better than a disguise and this line was delivered with great gusto and enthusiasm. Read more about performing Gallia in Scene 21 . But what disguises
A photo of Alon Nashman as Mumford. He is smiling.
Following their adventure in Britain as pilgrims, Mumford and his king were great lovers of disguising. Read more about performing Mumford in Scene 21 . Roger
A photo of Alon Nashman as Mumford. He is smiling.
Nashman (Mumford) pulled a face here to indicate he was not impressed with the lowly role given him as a disguise. Read more about performing Mumford in Scene 21 . ’Twere … time It’s about time. The precise meaning in context is unclear: Is it about time that Cordella and Gallia waited on Mumford? Is it about time that they went to the seaside?
A photo of Gallia, Cordella, and Mumford from Scene 21.
In the SQM production, Nashman made it clear that Mumford thought it timely that he should be waited upon by the royals, building on the disappointment he registered when first assigned the role of Roger, their man (). Read more about the performance of Scene 21 . Video Sc. 22 Scene 22
A photo of Ragan, Cambria, and the Gallian Abassador from Scene 22 of King Leir.
This scene never really worked for me in performance and in retrospect I believe the approach I encouraged in the actors was misguided. Read more about the performance of Scene 22 . Nobles Due to the limitation of our cast, the SQM company could only muster one noble. Visit Performing the Queen’s Men for a discussion of casting and doubling. Cambria
A photo of Scott Clarkson as Cambria. Cambria is a white man with a dark beard wearing a green and gold doublet and a bronze-colour coronet.
Cambria expresses genuine concern for his father-in-law and appears here as a good statesman but subsequently he is duped by his wife. Finding the right tone for his character proved challenging in this scene. Read more about performing Cambria in Scene 22 . light-horse Horse-mounted soldiers. regiment Kingdom. a post A man on horseback who will deliver a message. Ragan
A photo of Derek Genova as Ragan. Ragan is wearing a purple, white, and gold outfit, has pursed lips, and hands folded in front of her.
Ragan’s manipulation of her husband was openly apparent in the SQM production as it had been from the start, but did this scene demand a different approach? Read more about the performance of Scene 22 . counterfeit An approximation or spurious imitation. Mine … seem Ragan claims that her sorrow is more authentic than the sorrow of others, whihc is only a show. Her description of an authentic sorrow contrasted with performed sorrow echoes Hamlet, where Hamlet famously claims to hold that within which passeth show while his mourning clothes are but the trappings and the suits of woe (Ham 2.85–86). This speech also echoes Richard II where Richard discusses the distinction between the shadow and substance of sorrow where the substance of sorrow swells with silence in the tortured soul (R2 4.1.A144). innovation Rebellion. timeless Prematurely. them whom … suspect Those individuals whose fealty she questions. Ragan here claims—as a matter of show—that she cannot remain quiet about her suspicions of Cordella. sifted Carefully scrutinized and resolved. Ambassador
A photo of Phillip Borg as the Gallian Ambassador. The ambassador is a white man with a trimmed beard wearing a red cap, white ruff, and indigo top.
The SQM company developed a comic interpretation of the Gallian Ambassador in Scene 18 and found it difficult to reconcile with the action in this scene. Read more about the performance of Scene 22 . embassage The business or message that is conveyed between nations by an ambassador. to repair To come. There … you You and your king have been plotting; this reading follows the OED’s sense of pack: To enter into a private arrangement; to participate in a plot; to scheme, conspire (OED pack, v.2 1.1.a). color To paint; figuratively, to conceal. See also , where Ragan refers to the color of a feigned embassage. law of arms A set of explicit and implicit rules that governed the actions of states and individuals during times of war. The Hague and Geneva Conventions are roughly modern analogues. your threats … mind Your threats don’t worry me at all. ill-beseeming … love Not in keeping with the behaviour of a loving sister. Till … light Until more information makes the situation clearer. enforce Inspire. She strikes him
A photo of Ragan, Cambria, and the Gallian Abassador from Scene 22 of King Leir.
The SQM performance of this scene did not account for the degree to which this violence would have transgressed social codes for the original audience. Read more about the performance of Scene 22 . a mean A strategy for mediation (OED mean, v.3 1). She weeps
A photo of Derek Genova as Ragan. Ragan is wearing a purple, white, and gold outfit, has pursed lips, and hands folded in front of her.
Ragan’s manipulative tactics were played with obvious irony in the SQM performance but was this the right choice? Read more about the performance of Scene 22 . obloquy Slanderous verbal abuse. put up Tolerate. She’ll Cordella will. nought Worth nothing. parricide The act of killing one’s father. For after-ages … penance So that posterity will marvel in awe at her punishment. Penance in this case refers not (only) to a religious repentance but (also) to a decidedly judicial form of punishment (OED penance, n. 2). prosecute Perform; undertake. as best … fits As most adequately suits the situation. Video Sc. 23 Scene 23
A photo from Scene 24 of King Leir.
Watching the king exchange clothes with the comical mariners in this scene was both funny and touching in the SQM production. It is a great example of the medley style of the Queen’s Men. Read more about the performance of Scene 23 . two mariners
The SQM mariners were also given comically long beards and their accents had a hint of the pirate about them. Read more about the performance of Scene 23 . sea-gowns Long habits with short sleeves worn by mariners. sea-caps Hats worn by mariners. extremity Extreme poverty. good-fellows Thieves. wanting Lacking. use the mean Find a way. looks on Leir
The First Mariner took his time to survey Leir’s gown (), stepping back and assessing its potential value. Read more about the performance of Scene 23 . should be fine Will look handsome and well dressed. marvel Ask oneself a question with great curiosity (OED marvel, v.1 5.b). to supply … room To replace them. mean Of low quality. Contrast with where meanest refers to social status. stand Hesitate. Here’s … gaberdine
The First Mariner grabbed his jacket cloak by the lapel to show it’s strength, but it was clear he knew we would be getting the best of the bargain. The Mariners both enjoyed tricking these gentlemen out of the fancy cloaks, which we felt would have been worth far more than the cost of passage. Read more about the performance of Scene 23 . motley gaberdine A smock made from multicolored coarse fabric. Motley was often associated with fools and jesters.
Putting on the motley gaberdine and new hat gave Leir a clownish, pathetic appearance. It encouraged associations with Shakespeare’s relationship between Lear and his fool and the similar tone of the scenes on the heath between Lear and Gloucester. Read more about the Queen’s Men and Shakespeare in Scene 23 . shillings Former English money valued at 1/20 of a pound, or 12 pence. Billingsgate Billingsgate is a ward in southeast London known in the sixteenth century as the site of a large market; by the beginning of the seventeenth century, it was known principally for its fish market. When trading ships grew larger at the end of the sixteenth century, they were unable to pass under London Bridge to the once popular wharf at Queenhithe; instead, they would stop at the wharf at Billingsgate, which subsequently became the most popular wharf for traders. forgive Remit your debt. changeth Exchange clothing.
The exchange of clothing would have been far more significant in a society governed by sumptuary laws but even for our contemporary audience the sight of the king dressing in the motley cloak and hat was highly evocative. Read more about the performance of Scene 23 . because … friend
The Second Mariner placed his arm around Perillus’ shoulder and this over-familiarity was clearly a ruse to persuade the old man into a bad bargain. The comedy relied on the difference in status between the characters. The old men’s desperate circumstance was affecting and yet comical at the same time. Read more about medley style in Scene 23 . sheep’s russet Coarse, homespun wool; generally a sign of lower social status. But would If only. my friend Leir. keep his garment
Higginson (Perillus) worked hard to communicate Perillus’ discomfort at the sight of his king dressed in common clothes. This evocative image was central to the affect of this scene. Read more about the performance of Scene 23 . doublet A close-fitting buttoned jacket. powdered beef Beef preserved with salt. to hinder … bargain To scuttle a significantly beneficial deal. The First Mariner played this line quite aggressively asserting his right to the bargain but clearly motivated by the fear that the old men might have second thoughts and take their expensive clothes back. For the SQM Mariners the exchange was a wonderful trick, played on the old men. Read more about the performance of Scene 23 . Hark, hark
The two mariners gathered together conspiratorially at this point, fearing the old men might renege on the bargain, and planning their swift exit. Read more about the performance of Scene 23 . passage back again Fare for the return leg of your trip. I’ll use … another The Mariner’s malapropism ironically speaks the truth of this situation: he seems to mean that he will be as fair with Leir as he is with others, but he claims instead to be as unfair to Leir as he is to others.
This malapropism was one of the the key pieces of evidence that lead us to explore the comical possibilities of this scene. Read more about the performance of Scene 23 . ready money Cash to hand, in the form of coins. Exeunt Mariners
The two comical Mariners dashed off stage at this point before Leir had a chance to change his mind. Read more about the performance of Scene 23 . serve our turns Give us what we need. or ever Before. Can kindness … aslope
Leir expresses his fears about Cordella’s reception in an extended series of metaphors which is carefully countered by his good friend Perillus. The scene demands careful manipulation of the rhetorical devices from the actors. Read more about rhetoric of emotion in Scene 23 . henbane Commonly known for its poisonous properties. Henbane is possibly synonymous in Hamlet with Hebenon, the poison used by Claudius to kill King Hamlet (Ham 5.61). Throughout this list of herbs, fruits and vegetables, Leir outlines a set of imagined opposites: bitter/sweet, poisonous/medicinal, etc. mithridate A cure all that, considered sweet by Leir. wormwood’s Wormwood is a famously bitter component of many herbal remedies. sloes The bitter plum-like fruits of the blackthorn tree. respectless Careless; discourteous. paps Breasts. rancour Animosity, or a deep and abiding contempt. flower of grace Rue—the aromatic leaf of an evergreen shrub—was called the herb of grace in early modern herbal lore. Rue makes a famous appearance in Shakespeare’s Hamlet where Ophelia distributes flowers to members of the court and gives rue—associated with repentance and adultery as well as with grace—to Gertrude: There’s rue for you—and here’s some for me. We may call it herb of grace o’ Sundays (Ham 15.173–175). Leir’s vision of the herb of grace choked by weeds—suggesting the suppression of natural grace by Leir’s unnatural or unkind selfishness—continues to develop the herbal and horticultural imagery that is used throughout the play to figure familial relationships. go quite aslope Decline precipitously or grow significantly worse. gall Bile. The honey … mithridate
Perillus punctuates with his argument with this clever list, naming each of the objects used by Leir to express his fears. The rhetorical clarity in performance gave justification to Leir’s following line: Thou pleasing orator to me in woe (). Read more about rhetoric of emotion in Scene 23 . pleasing orator … woe
Perillus has indeed been such an orator to Leir throughout the play. This is the third of three occasions in which he has persuaded his friend to live with hope and avoid despair. Read more about rhetoric of emotion in Scene 23 . nought but crosses In his reference to nothing but burdens (or crosses); Leir quibbles on noughts and crosses, the early modern name for the game now known in North America as Xs and Os. ill-apaid Unsatisfied. Video Sc. 24 Scene 24
A photo from Scene 24 of King Leir.
A climactic scene in performance. Finding the right approach to the reconciliation between Cordella and Leir was key to the company understanding the spirit of the play. Read more about the performance of Scene 24 . and table
A photo of Mumford. He is gazing downward, frowning, and gesturing with his hand.
The SQM company did not follow the editors selection here and Mumford entered only with a basket. With the goal to satisfy the majority of textual evidence available, the SQM production delayed the arrival of the table until later in the scene. Read more about stage directions in Scene 24 . disguised … folk Although the content of the scene is deeply emotional the royals arrived on stage full of excitement about their adventure to the sea. Nashman (Mumford), who ends up playing the role of Roger, / Their man (.) after all, created comic business around the fact he was left to carry the extremely heavy picnic basket. Read more about medley style in Scene 24 . And … wits It is unclear what, precisely, the country folk are doing, and it is unclear why they are doing what they are doing. Their quirks (or witty remarks) and their antic fits (or odd movements while dancing) put them beyond the moon (or make them seem mad). Tilley includes he casts beyond the moon as a proverb meaning that one has engaged in wild conjecture (Tilley M1114). In this case, it seems to indicate a different sort of wildness or bizarre behavior, perhaps as part of rural merrymaking or a festival. It is also possible that the three have run into a jovial crew, or a gang of beggars or gypsies. old youths Ironic. See also . make myself fat Enjoy myself; indulge in. jesting
A photo of Mumford. He is gazing downward, frowning, and gesturing with his hand.
Mumford continued in his search for fun until Cordella spied their old men’s distress. Read more about medley style in Scene 24 . o’ergone with Overwhelmed by. harken Listen to. unfruitful soil Leir figures his current experiences in terms of agrarian fecundity, emphasizing that here—as a castaway in France—he is unable to find spiritual or physical nourishment. case Condition. conducts Guides. betide Befall. strips … arm Pulls up his sleeve exposing his arm.
The audience always found the invitation to cannibalism hilarious but I feel it was intended sincerely in the text and asked the actors to play through the laughter in this instance. Later in the scene acknowledging the laughter at the repeated kneeling was part of the success of the happy resolution in performance. The mixture of laughter and emotion is extremely complex in the Queen’s Men plays. Read more about medley style in Scene 24 . virtue Substance of value; nutriment. Ah … blood Martin Mueller points out a parallel here with Thomas Lodge’s Rosalynde (1590) where the hero Rosader and his servant Adam Spencer find themselves close to starvation in the forest of Arden (Mueller 198). When Rosader complains about their impending starvation, Adam suggests that they let the death of the one preserue the life of the other: I am olde, and ouerworne with age, claims Adam, you are young, and are the hope of many honours: let me then die, I will presently cut my veynes; master with the warme bloud reliue your fainting spirits: sucke on that till I ende, and you be comforted (Lodge). slake Satisfy my. What … hear Not recognizing her father due to his Mariner’s clothing, Cordella here responds to the sound of his voice. DeZotti’s empathic responses to the king in this scene were key to its emotive power. Read more about performing Cordella in Scene 24 . How they … truth
In one of the SQM staging configurations, important personages were seated on the stage behind the actors. Allison (Leir) would always address this warning to the most important audience member—in the video performance it was the Dean of University College at UofT. Read more about performing Cordella in Scene 24 . will hardly … like Are unlikely to do what I do (and forgive you). of all Of her entire inheritance. ground Source. some … meat Meat here does refers any solid foodstuff.
A photo of Mumford. He is gazing downward, frowning, and gesturing with his hand.
In the SQM production this line was taken as the cue for Mumford to hurry off-stage to fetch a table. Read more about stage directions in Scene 24 . Cordella … table The stage direction in Q is ambiguous and this direction is interpolated from the implied stage action. According to Q, Mumford enters carrying only a basket, but if Leir is seated at a table later in this scene, then the arrival of the table is confusing. It seems possible that Mumford, carrying a basket, would also carry a small, foldable table. If the table is a realistic assemblage of boards and trestles, however, it is unlikely that Mumford carries it here; instead, the table may simply be thrust on stage prior to the scene’s beginning. This unrealistic use of a prop—appearing conveniently at the moment it is needed—abides the representational logics of early modern theatre where verisimilitude was not particularly valued.
A photo from Scene 24 of King Leir.
The SQM company found another solution to the staging of this scene. Read more about stage directions in Scene 24 . Or … never Either now or never. banquet Because Mumford carries a lone basket of food, it seems unlikely that this banquet is an elaborate feast. It is possible to read banquet here in the OED’s second sense—a slight repast between meals (OED banquet, n.1 2)—though it seems more likely that Perillus’s perception of a feast bespeaks his own ravenous hunger. men and women
A photo from Scene 24 of King Leir.
Perillus sees women and yet only Cordella is on stage at this point. The SQM company had country folk bring on the banquet at this point to help justify Perillus’ line and satisfy the textual evidence. Read more about stage directions in Scene 24 . comfort … near
A photo from Scene 24 of King Leir.
The fact that Perillus sees comfort coming towards him was evidence used in the development of the SQM staging. Read more about stage directions in Scene 24 . Cordella … table Presumably, because Perillus leads Leir to the table at a later moment, Cordella is leading Perillus rather than Leir to the table at this point. Here … drink It is likely that Cordella delivers the first part of this line to one of the men and the second part of this line to the other. Though father could be used—as it is later in the scene—as a respectful name for all of one’s male seniors, it seems likely that Cordella addresses her actual father here. This was difficult to manage in performance, as it was strange for Cordella to address the first part of the line to Leir when she was in the process of leading Perillus to the table. Ultimately, the evidence of the stage directions is inconclusive and the company has to make the best-informed, creative choice. Read more about stage directions in Scene 24 . anon Soon. I warrant … grace My guess is that he will not pause to say grace.
A photo of Mumford. He is gazing downward, frowning, and gesturing with his hand.
Even in moments of high drama Mumford throws in the odd joke a style of dramaturgy typical of the Queen’s Men. Read more about medley style in Scene 24 . there’s … stomach There’s no sauce like appetite. Proverbial (Tilley S870). draught … drank According to the story of Aeson found in Book VII of Ovid’s Metamorphoses, Aeson, Jason’s father, survived in prison under Pelias while Jason sought the golden fleece. After Jason returned with the fleece, Medea—Jason’s wife—provided Aeson with a magical potion that returned him to youth. Ovid’s version of the story is the only one that involves Aeson’s rejuvenation; other versions of have Aeson’s kill himself while imprisoned. See Ovid. Elias The biblical Elijah, who wandered for forty days through the desert after eating bread and water supplied by an angel. This Greek form of the name is the form found in the King James Bible (see 1 Kings 19:4–7). Lest … office For fear that his intellect goes (i.e., that Leir goes mad or dies). manna Bread of heaven sent to the Israelites when journeying through the wilderness (see Exodus 16:15). That rained … Israelites According to Exodus 16:15, God provided the Israelites with manna at a moment of desperation as they wandered desert after escaping Egypt. congratulate Provide adequate thanks. best mean Best way. Nay … mine
The sight of the old men competing to exchange their doublets for the meal, always brought a laugh from our modern audience. Read more about medley style in Scene 24 . Perillus … doublet In spite of the audience’s laughter at this point, Higginson (Perillus) played this moment sincerely. The refusal of the offer of payment is an example of the kind of hospitality that Leir found lacking in his other daughters. Here strangers are found kind and this fundamental generosity marks a key difference between this play and Shakespeare’s. Read more about the Queen’s Men and Shakespeare in Scene 24 . strange Foreign. those … best Individuals (i.e., Ragan and Gonorill) who have the best reason to be generous to Leir (i.e., the father who gave them their kingdoms). like a daughter
The ironies created by the characters’ disguises are exacerbated here enhancing the pleasant affect of the scene as it leads us towards its happy resolution. Read more about medley style in Scene 24 . owe Own; lay claim to. interest’s His claim or stake. A man … own A man can do what he wants with his own family. While, legally speaking, women and children were subject to their husbands and fathers, it was unlikely—contrary to Cordella’s claim—such broad leeway would have been given to husbands and fathers in early modern England. Men who beat their wives unreasonably, for instance, were often subject to formal and informal censure; they might be carted through the streets as part of a charivari, a very public form of punitive humiliation. than … had Than I wish I had. adamant A mineral valued by alchemists for its remarkable hardness. Throughout the sixteenth century, the precise nature of adamant remained unclear, though the OED notes that it was generally identified with diamond during the seventeenth century. Dost weep already Leir is about to reiterate the main action of the play to this point. In performance it became clear that the tearful effect on his daughter was central to the dramaturgical strategy of repetition. Read more about narrative over-determination in Scene 24 . Then know … grief
Leir recalls the past events of the play in some detail but in doing so both relives his experience and performs his own penitence for his treatment of Cordella. Read more about narrative over-determination in Scene 24 . sped Literally, successful; to be sped also means that one is well endowed with a certain quality. care Worry. entreated Treated. lived … content Had a life that fit my position. contumelious Disgraceful. harbor Reside. to repair To journey to. sore Severe or harsh; cruel. betime Early. ’Pointing Appointing, or setting the time for a rendezvous. No doubt … will In performance the pleasant pressure of the dramatic ironies reached its climax hereas the audience eagerly anticipated Cordella’s revelation. Read more about medley style in Scene 24 . She kneels In the obsessive kneeling of this scene, Jacqueline Pearson detects a parallel with the comic kneeling in Act 5, Scene 3 of Shakespeare’s Richard II.
The SQM company learnt to embrace the audience’s laughter and the obsessive kneeling and make it part of the characters’ joyful reconciliation. Read more about medley style in Scene 24 . kneel again
It was usually at this point that the kneeling became funny for the SQM audience. The SQM company learnt to embrace their laughter making it part of the characters’ joyful reconciliation as they competed to outdo each other in repentance and forgiveness. Read more about medley style in Scene 24 . resigned Granted. beseems Suits; befits. respective duty Respectful reverence; Gallia says that Cordella treats Leir as if Leir were the monarch of the world. committed any way Ambiguous; this phrase might mean committed along the way (i.e., over the course of her life from first birth to present day), or it might refer to the ways that one may commit a sin, by omission or by commission (i.e., by doing something, or by accidentally failing to do something). The blessing … Judah From Genesis 12:2: I will make of thee a great nation, and I will bless thee, and make thy name great; and thou shalt be a blessing: And I will bless them that bless thee, and curse him that curseth thee: and in thee shall all families of the earth be blessed. He kneels
A photo of Paul Hopkins as the King of Gallia. He is wearing a black cap and a roughly sewn brown leather jacket. He is grinning.
Hopkins (Gallia) knelt with a self-conscious awareness that there had already been a lot of kneeling in this scene, aligning himself with the audience’s amusement but still sustaining the sincerity of his commitment to help Leir. Read more about medley style in Scene 24 . perjured’st Most purjured or deceitful. never prayed before
A photo of Mumford. He is gazing downward, frowning, and gesturing with his hand.
Mumford makes light of his own kneeling and Nashman (Mumford) added to the humor by trying to make the sign of the cross only to forget how to do it. While the purpose of the kneeling is heartfelt for Leir and Cordella the Queen’s Men’s dramaturgy allows the audience to find it funny at the same time. Read more about medley style in Scene 24 . resalute Regreet, or return to, remembering the he has been there before when dressed as a Palmer with Gallia. gelded Castrated or emasculated. Video Sc. 25 Scene 25
A photo of Derek Genova as Ragan. Ragan is wearing a purple dress and standing with her hands by her side.
This scene stood out in our modern performance of the play as this wicked character argued for female agency. It added much complexity to the audience response especially since our approach to this character was moralistic. Read more about the performance of Scene 25 . fact Actions or, more specifically, crimes. make him sure Be sure of his actions, or, Kill him. white-livered Having livers lacking bile. According to theories of Galenic humoralism, a lack of bile made one cowardly. that I … man Jacqueline Pearson detects a parallel here with Shakespeare’s Much Ado About Nothing where Beatrice declares, O God that I were a man (Ado 4.1.295). See also Lady Macbeth’s description of her willingness to stab a king, despite her gender: I dare do all that may become a man. / Who dares do more is none. (Mac 1.7.47–48).
Beatrice is a very sympathetic character but the SQM Ragan was unambiguously wicked. Her resonant monologue added much complexity but likely had a different effect for its original audience. Read more about the performance of Scene 25 this scene. pre-eminence Preference, privilege, or legal authority and superiority. I’ll make … one I’ll devise as good a plot as I can for me. repines Articulates discontent. howe’er it stands In this or any situation. best … hands
A photo of Derek Genova as Ragan. Ragan is wearing a purple dress and standing with her hands by her side.
Derek Genova (Ragan) remained true to our moral interpretation his character, leaving the stage with evil intent and the threat of violence. Read more about performing Ragan in Scene 25 . Video Sc. 26 Scene 26
The Gallian King’s preparation for war proved an awkward scene in performance as we were unable to stage the French army due to our limited number of actors available at this point in the play. Read more about the performance of Scene 26 . the army
The SQM company only had 12 actors for the performance of this play and had to find a way to stage this scene without the army referenced here. Read more about stage directions in Scene 26 . Gallia
A photo of Paul Hopkins as the King of Gallia. He has a hand on the hilt of his sword.
Now Leir is reunited with Cordella, Gallia carries the action of the play through to its final conclusion. The energy and charisma of Paul Hopkins (Gallia) was key to the success of the later scenes of the play. Read more about performing Gallia in Scene 26 . Wherefore On account of which. resolve Stand firm; dedicate yourself to the cause. as forward … first As close to the front of the battle as the first attacker. wight Person. second him Have his back; reinforce and protect him. This sentiment echoes sentiments in the famous St. Crispin’s Day speech that Henry delivers prior to the battle of Agincourt in Shakespeare’s Henry V (H5 4.3.18–67). next unto ourself After me. According to Gallia, Mumford will be second in command of the army. Gallia here is using the royal pronoun where a monarch, thought to embody the collective will of his subjects, uses plural, rather than singular, pronouns. wonted Typical. that sweet … eyes Mumford refers to the eyes of either Cordella or his English love. It is also plausible that he refers to St. Denis, the patron saint of the French, who is mentioned often in the play. If Mumford describes St. Denis here, the brightness of the eyes might refer to a tradition in medieval painting where saints’ eyes were overlaid with gold leaf. To the soldiers
A photo of Alon Nashman as Mumford. He is standing with one fist raised in the air.
As we had no actors to play the soldiers, Nashman (Mumford) directed his lines to the audience, casting them as the Gallian army. Read more about the performance of Scene 26 . Genovestan Gauls Gallic soldiers from Genoa, in northern Italy? Because Genoa in Northern Italy was never considered to be part of Gaul, Lee’s explanation of this nonsensical designation seems the most plausible. Lee argues that the playwright likely wrote Cenouenses Galli and that the printer misread the phrase to mean Genovestan; Cenovenses Galli makes sense because Orleans seems to have been originally called Cenabum or Genabum, and its inhabitants Cenabenses or Genabenses (Lee 117). Surnamed Redshanks Generally applied by early modern writers to Irish Celts or Gaelic Scots who went barelegged. The phrase is applied here to indicate the blood spattered on the soldiers’ legs, or is a matter of confusion. As Joan Fitzpatrick points out, Roman Gaul was often called Gallia Celtica, and Caesar identified the people from Middle Gaul as Celtae; the homonymy might have confused the writer or writers of Leir. Fitzpatrick argues that the most likely source of this confusion for the writer of Leir is Spenser’s Faerie Queene (Fitzpatrick 109). as bitter … gall A punning quibble on the homonymy of Gaul and gall, or bile, which was bitter. brave shot The soldiers who fire artillery. brave halberds The people who fight with halberds, a weapon that combines spear and battleaxe. bills Weapons like halberds, but with a simple concave blade; Mumford uses the names interchangeably. Video Sc. 27 Scene 27
A photo from Scene 27 of King Leir
The Captain of the Watch initially gives the impression of competence but the two English watchmen reveal that Gallia will have little resistance to his invasion. The battle scenes of the SQM production were part high drama, part slapstick, with the two watchmen in this scene providing much comedy. Read more about the performance of Scene 27 . beacon A signal station and watchtower. The guard on the beacon is expected to light a fire (fire the beacon) to warn the town if an enemy force is approaching. raise the town Awake the townspeople. Exit
A photo of two smiling watchmen with one in the foreground and one in the background
As soon as the Captain left the stage, the two watchmen who had been standing to attention slouched drunkenly and started looking for ways out of their duties. Read more about the performance of Scene 27 . ’vice Advice, but also a quibble on vice as moral weakness. Goodman The host of an inn or pub, often used as a nominative, as here. excuse us An apparent malapropism for accuse us. The watchman worries that they will be exposed by witnesses, though the OED records no examples of excuse being used in that way.
A photo of two smiling watchmen with one in the foreground and one in the background
As Andrew suggests, the SQM actors played the watchmen as if already drunk (). Read more about the performance of Scene 27 . ass for example A malapropism—for as for example—picked up in the next line. The watchman’s slurring here and his previous malapropism indicate that he is already drunk. by craft By design. The watchman here mishears the slurred as in the preceding line as ass. As with earlier quibbles on hole and nothing, this joke is based on a miscommunication; see and . I must … red A red nose was taken to indicate alcoholism or drunkenness. salt bacon Bacon cured and preserved in salt. construe right Understand my meaning. Video Sc. 28 Scene 28
A photo from Scene 28 of King Leir
The intercutting between the French and the English begins to increase in pace as the French army arrive secretly on the English shore but the SQM company missed a crucial clue for the staging of this scene. performance of Scene 28 . still march A muffled drum beating to the time of a march.
A photo from Scene 28 of King Leir
The implication of this stage direction is that Gallia and his army should creep onto the stage trying to effect a surprise attack. Unfortunately this clue was missed in the SQM production. Read more about the performance of Scene 28 . ensigns Banners. near approaching Coming close. mistrustful Untrustworthy. secure Confident of their safety. naked Unclothed or wearing only undergarments. assail Attack. God … us
A photo from Scene 28 of King Leir
In retrospect, this should have been the line in which the Gallian army threw off their quiet approach and charged the town. Although followed by a scene break, the charge leads directly to the alarums that begin the next scene and the action through the whole battle is a fluid series of entrances and exits. performance of Scene 28 . Video Sc. 29 Scene 29
A photo from Scene 29 of King Leir
The climactic battle opens comically and SQM company worked with a fight director to develop slapstick routines that captured the spirit of the stage directions. Read more about performance of Scene 29 . Alarum A call to arms by the sound of bells or trumpets. without doublets
A photo from Scene 29 of King Leir
The Gallian army’s quiet approach and the failure of the English watchmen lead to the town beind surprised by the attack, indicated here by the Captain’s lack of clothing. The staged direction invited the SQM company to develop a comic battle sequence. Read more about stage directions in Scene 28 . whirlwind … whirlpool According to OED, whirlwind and whirlpool are both used figuratively to refer to impetuous, powerful, unruly, and unwieldy forces (OED whirlwind, n.; OED whirlpool, n.2). The captain here—frustrated—is hoping for a rapid and unpleasant destruction of the drunken watchmen and of the townspeople who seem incompetent in battle. slaves A term of contempt. Enter … drunk
A photo from Scene 29 of King Leir
Knowing the Queen’s Men company was full of skilled clowns, the SQM company took every opportunity to develop pieces of physical comedy. Here the watchmen entered in a panic and got their halberds entangled. Read more about stage directions in Scene 28 . pot A tankard. To fire … beacon I.e., To set fire to the town and awake the beacon. He means to order the watchman to fire the warning beacon and to call up the sleeping town. He kicks … pots In the SQM company, the actor playing Mumford was the principal clown and this stage direction was used as an opportunity for him to show his prowess. Read more about performing Mumford in Scene 29 . meanspace Meantime. tall men … weaponed Well built and wall weaponed; potentially ironic. choler’s Of anger. According to theories of the bodily humors, one who had an excess of choler or bile would be prone to anger. stand The watchmen finished the scene sitting on the floor having been tripped by Mumford. Here they struggled to their feet and exited drunkenly. Read more about stage directions in Scene 28 . Alarum … half-naked
A photo from Scene 29 of King Leir
A wonderful stage direction that we took as an open invitation to invent comic business for the battle. Read more about stage directions in Scene 28 . excursions Actors running about, as if in battle.
A photo from Scene 29 of King Leir
The term excursions appears frequently in stage directions of the period and indicates a series of small fight sequences between different contestants used to represent the battle at large. The SQM company adopted a simple protocol that all entrances would be made stage left and exits stage right to avoid collisions. Read more about stage directions in Scene 28 . Video Sc. 30 Scene 30
A photo from Scene 30 of King Leir.
Following the comical start to the battle the company had to shift the tone to convey the high significance of the action for the people of England and the emotional intensity of the conflict between the central characters. Read more about the performance of Scene 30 . subscribe Sign your name on a document; here it signifies assent that Leir—rather than Cornwall or Cambria—is the legitimate monarch. revoke your fealty Fealty is the duty a feudal tenant shows to his or her lord. Gallia here wants the people of the town to renounce or revoke their sense of duty to Cambria and Cornwall. in justice of Seeking justice for. perforce By necessity. constrained Required, having no other option. Long have … lord
A photo from Scene 30 of King Leir.
The Nobleman’s deeply felt delight and relief at the sight of his king was key to turning the mood of the battle, preparing the way for the high conflict of this scene. Read more about the performance of Scene 30 . And had … grace The nobleman says that they thought the army was a French invasion rather than the return of Leir; had they known it was the return of Leir, they would not have fought. the country … pride The countrymen have been heavily taxed to maintain their (i.e., Gonorill and Ragan, and possibly Cornwall and Cambria) pride (rank displayed through the possession of luxury goods). This relationship between capricious taxation and disloyalty is central to Richard’s fall in Shakespeare’s Richard II. As Lord Ross points out, The commons hath he pilled with grievous taxes, / And quite lost their hearts. The nobles hath he fined / For ancient quarrels, and quite lost their hearts. (R2 2.1.247–249). skirmishes Irregular, non-central, disorganized battles involving small groups of troops. naked women
Mumford has been consistently attracted to the English women and his pleasure at encountering them semi-clad on the battle field always brought a big laugh from the audience. Read more about performing Mumford in Scene 30 . feeble Cordella has shown much inner strength in the play but on the battlefield accepts a traditional female role. Read more about performing Cordella in Scene 30 . The while … foil While the army fights, Leir, Perillus, and Cordella will remain behind and pray for victory of the Gallian troops and the foil, or defeat, of their enemies. victory … right That victory pursue what is just. amplify Exaggerate. adverse drum The opponent’s drum. Saint George Patron saint of England. Enter … army
A photo from Scene 30 of King Leir.
With this multiple entrance our tiny stage was very crowded. This scene features the largest number of actors in the play and presented many staging challenges. Read more about stage directions in Scene 30 . Cornwall
A photo of Jason Gray as Cornwall. Cornwall is a white man with a black goatee. He is wearing a brown and black striped cape and a coronet. He has a sword at his hip.
Cornwall’s attack was vehement in the SQM production shifting the emotional mood of the battle. Read more about performing Cornwall in Scene 30 . perforce By force. fell Fierce. Cambria
A photo of Jason Gray as Cornwall. Cornwall is a white man with a black goatee. He is wearing a brown and black striped cape and a coronet. He has a sword at his hip.
At this moment in this battle scene, the stately and commanding Cambria came to the fore. Read more about performing Cambria in Scene 30 . Except Unless. Welshman Though not identical in geographical terms, the borders of Cambria—the area west of the Severn river—approximate the borders of modern Wales.
Mumford’s unexpected xenophobic attack was funny in performance in spite of the high emotion being felt by the main characters. Read more about medley style in Scene 30 . ferret Attack viciously, like a ferret attacks a rat. crake To boast. Gonorill Krist (Gonorill( lied brazenly showing no signs of remorse. Read more about performing Gonorill in Scene 30 . for … sake As a pretext; as part of a stratagem or trick. set a gloss Literally, to paint, but figuratively to cast an event in a good light or to make (what Ragan sees as) an unjust attack seem like a just attack. broach Declare publicly. puritan … hypocrite Aparticularly abstemious group of Protestant, often accused of hypocrisy on the early modern stage. Which art … naught You pretend to be so absurdly good that clearly the opposite will be proved true—that you are hard-hearted and worthless! Anon Immediately. toad The type of anything loathsome. You … patience You owe us more patience (because we have shown you patience). What … thicket Ragan’s brazen denials bordered on the comic but were played vindictively prompting outrage for Leir and Perillus. Read more about performing Gonorill in Scene 30 . Alas … age Proverbial (Tilley M70). See Jaques famous All the world’s a stage speech from As You Like It, which ends by describing the Last scene of all in a human life: the Last scene of all, / That ends this strange eventful history, / Is second childishness, and mere oblivion, / Sans teeth, sans eyes, sans taste, sans everything (AYL 2.7.162–165). The sentiment is repeated again in King Lear, where Gonerill explains that Old fools are babes again (Lr 4.19). See also, David Bevington, Shakespeare: The Seven Ages of Human Experience, where he describes the parabolic shape of life in Shakespeare’s plays (Bevington 2–6). latter day The day of the final judgment, also known as the second coming. According to Christian theology, the latter day is the day when Christ will return to the earth to pass judgment on sinners while redeeming those who are to be saved. The nature of punishments, the nature of rewards, and the timing of this return were often debated in early modern England. Video Sc. 31 Scene 31
A photo of a swordfight from Scene 31 of King Leir.
On the page, the final scene reads like a summary end to a long play, but the short stage directions are an invitation to create further spectacle on the stage. Read more about the performance of Scene 31 . excursions
A photo of a swordfight from Scene 31 of King Leir.
This open stage direction was taken as an invitation to choregraph a series of short fights that would form a climactic battle sequence. Read more about stage directions in Scene 31 . Mumford … Cambria Another great stage direction indicating one key piece of action that should be included in the climactic battle to satisfy the needs of the text. The SQM company also included a battle between Gallia and Cornwall and the English forces. Read more about stage directions in Scene 31 . Cambria Having been chased around the battlefield by Mumford, Cambria gives up the fight and Clarkson returned to the more naive bumbling characterization he had used earlier in the play. Read more about performing Cambria in Scene 31 . ’Zounds A mild oath; abbreviated from by God’s wounds, in reference to the wounds of the crucifixion. Video Sc. 32 Scene 32 The play finishes with victory for the good characters; the SQM company attempted to give the ending a celebratory spirit in which all are united in a happy England ruled by its rightful monarch. sound victory A trumpet sound that marks the victorious end of a battle. excursions
A photo from Scene 32 of King Leir
The scene divisions in the text become increasingly meaningless as the fluid battle moves on—the stage direction here indicating another series of skirmishes before victory is sounded on the trumpet. Read more about stage directions in Scene 32 . possessed In possession of. Leir
A photo of King Leir holding Cordella’s hand.
The rightful monarch is restored and Don Allison gave his character renewed vigour, leaving the suffering behind and giving thanks of the happy ending. Read more about performing Leir in Scene 32 . scathe Damage; Leir here thanks Mumford for making himself vulnerable in battle. never stained Unblemished (in a moral sense); guiltless. grutch Complain or begrudge. Though obsolete—replaced, according to the OED, by grudge—the word remains here in its non-modern spelling for the sake of the rhyme. unkind Lacking in filial respect (OED unkind, adj. 1.4.b), with a pun on unkindness as ungenerous. requite Repay. laid on Battled. the fugitives … play The escaped daughters Gonorill and Ragan did dally live proudly. Sound drums … trumpets
The play finishes in triumph for the English monarch firmly aligning it with the politics of the company. Read more about politics in Scene 32 .
Scene 1 Video Sc. 1 Enter King Leir, Skalliger, Perillus and a Nobleman Leir Thus to our grief, the obsequies performed Of our—too late—deceased and dearest queen, Whose soul, I hope, possessed of heavenly joys, Doth ride in triumph ’mongst the cherubim. Let us request your grave advice, my lords, For the disposing of our princely daughters, For whom our care is specially employed, As nature bindeth, to advance their states In royal marriage with some princely mates; For wanting now their mother’s good advice, Under whose government they have received A perfect pattern of a virtuous life— Left, as it were, a ship without a stern, Or silly sheep without a pastor’s care— Although ourselves do dearly tender them, Yet are we ignorant of their affairs, For fathers best do know to govern sons, But daughters’ steps the mother’s counsel turns. A son we want for to succeed our crown, And course of time hath cancellèd the date Of further issue from our withered loins; One foot already hangeth in the grave, And age hath made deep furrows in my face. The world of me, I of the world am weary, And I would fain resign these earthly cares And think upon the welfare of my soul, Which by no better means may be effected Than by resigning up the crown from me In equal dowry to my daughters three. Skalliger A worthy care, my liege, which well declares The zeal you bare unto our quondam queen. And since your grace hath licensed me to speak, I censure thus: your majesty, knowing well What several suitors your princely daughters have, To make them each a jointure—more or less, As is their worth—to them that love profess. Leir No more nor less, but even all alike. My zeal is fixed: all fashioned in one mould, Wherefore unpartial shall my censure be; Both old and young shall have alike from me. A Nobleman My gracious lord, I heartily do wish That God had lent you an heir indubitate, Which might have set upon your royal throne When Fates should loose the prison of your life, By whose succession all this doubt might cease And, as by you, by him we might have peace. But after-wishes ever come too late And nothing can revoke the course of fate; Wherefore, my liege, my censure deems it best, To match them with some of your neighbor kings, Bord’ring within the bounds of Albion, By whose united friendship, this our state, May be protected ’gainst all foreign hate. Leir Herein, my lords, your wishes sort with mine, And mine, I hope, do sort with heavenly powers, For at this instant two near-neighboring kings, Of Cornwall and of Cambria, motion love To my two daughters, Gonorill and Ragan. My youngest daughter, fair Cordella, vows No liking to a monarch unless love allows. She is solicited by divers peers, But none of them her partial fancy hears. Yet, if my policy may her beguile, I’ll match her to some king within this isle And so establish such a perfect peace As Fortune’s force shall ne’er prevail to cease. Perillus Of us and ours, your gracious care, my lord, Deserves an everlasting memory To be enrolled in chronicles of fame By never-dying perpetuity; Yet, to become so provident a prince, Lose not the title of a loving father. Do not force love where fancy cannot dwell, Lest streams, being stopped, above the banks do swell. Leir I am resolved, and even now my mind Doth meditate a sudden stratagem To try which of my daughters loves me best, Which, till I know, I cannot be in rest. This granted, when they jointly shall contend, Each to exceed the other in their love, Then at the vantage will I take Cordella, Even as she doth protest she loves me best; I’ll say, Then, daughter, grant me one request: To show thou lov’st me as thy sisters do, Accept a husband whom myself will woo. This said, she cannot well deny my suit, Although, poor soul, her senses will be mute. Then will I triumph in my policy, And match her with a king of Brittany. Skalliger Aside I’ll to them before and bewray your secrecy. Perillus Aside Thus, fathers think their children to beguile, And oftentimes themselves do first repent When heavenly powers do frustrate their intent. Exeunt.
Scene 2 Video Sc. 2 Enter Gonorill and Ragan Gonorill I marvel, Ragan, how you can endure To see that proud pert peat, our youngest sister, So slightly to account of us, her elders, As if we were no better than herself! We cannot have a quaint device so soon, Or new-made fashion of our choice invention, But, if she like it, she will have the same, Or study newer to exceed us both. Besides, she is so nice and so demure, So sober, courteous, modest, and precise, That all the court hath work enough to do To talk how she exceedeth me and you. Ragan What should I do? Would it were in my power To find a cure for this contagious ill: Some desperate medicine must be soon applied To dim the glory of her mounting fame, Else, ere’t be long, she’ll have both prick and praise, And we must be set by for working days. Do you not see what several choice of suitors She daily hath, and of the best degree? Say, amongst all, she hap to fancy one, And have a husband whenas we have none; Why, then, by right, to her we must give place, Though it be ne’er so much to our disgrace. Gonorill By my virginity, rather than she shall have A husband before me, I’ll marry one or other in his shirt. And yet I have made half a grant already Of my good will unto the king of Cornwall. Ragan Swear not so deeply, sister. Here cometh my Lord Skalliger. Something his hasty coming doth import. Enter Skalliger Skalliger Sweet princesses, I am glad I met you here so luckily, Having good news which doth concern you both And craveth speedy expedition. Ragan For God’s sake, tell us what it is, my lord! I am with child until you utter it. Skalliger To Ragan Madam, to save your longing, this it is: Your father, in great secrecy, today Told me he means to marry you out of hand Unto the noble prince of Cambria.— You, madam, to the king of Cornwall’s grace.— Your younger sister he would fain bestow Upon the rich king of Hibernia, But that he doubts she hardly will consent, For hitherto she ne’er could fancy him. If she do yield, why then, between you three, He will divide his kingdom for your dowries. But yet there is a further mystery Which, so you will conceal, I will disclose. Gonorill Whate’er thou speakst to us, kind Skalliger, Think that thou speak’st it only to thyself. Skalliger He earnestly desireth for to know Which of you three do bear most love to him, And on your loves he so extremely dotes As never any did, I think, before. He presently doth mean to send for you To be resolved of this tormenting doubt, And look whose answer pleaseth him the best, They shall have most unto their marriages. Ragan Oh, that I had some pleasing mermaid’s voice For to enchant his senseless senses with! Skalliger For he supposeth that Cordella will, Striving to go beyond you in her love, Promise to do whatever he desires; Then will he straight enjoin her, for his sake, Th’Hibernian king in marriage for to take. This is the sum of all I have to say, Which, being done, I humbly take my leave, Not doubting but your wisdoms will foresee What course will best unto your good agree. Gonorill Thanks, gentle Skalliger; thy kindness undeserved Shall not be unrequited, if we live. Exit Skalliger. Ragan Now have we fit occasion offered us To be revenged upon her unperceived. Gonorill Nay, our revenge we will inflict on her Shall be accounted piety in us. I will so flatter with my doting father As he was ne’er so flattered in his life. Nay, I will say that if it be his pleasure To match me to a beggar, I will yield, For why I know—whatever I do say— He means to match me with the Cornwall king. Ragan I’ll say the like, for I am well assured, Whate’er I say to please the old man’s mind, Who dotes as if he were a child again, I shall enjoy the noble Cambrian prince; Only, to feed his humor, will suffice To say I am content with anyone Whom he’ll appoint me. This will please him more Than e’er Apollo’s music pleasèd Jove. Gonorill I smile to think in what a woeful plight Cordella will be when we answer thus, For she will rather die than give consent To join in marriage with the Irish king. So will our father think she loveth him not Because she will not grant to his desire, Which we will aggravate in such bitter terms That he will soon convert his love to hate, For he, you know, is always in extremes. Ragan Not all the world could lay a better plot; I long till it be put in practice. Exeunt.
Scene 3 Video Sc. 3 Enter Leir and Perillus Leir Perillus, go seek my daughters. Will them immediately Come and speak with me. Perillus I will, my gracious lord. Exit. Leir Oh, what a combat feels my panting heart ’Twixt children’s love and care of common weal! How dear my daughters are unto my soul None knows but He that knows my thoughts and secret deeds. Ah, little do they know the dear regard Wherein I hold their future state to come. When they securely sleep on beds of down, These agèd eyes do watch for their behalf. While they, like wantons, sport in youthful toys, This throbbing heart is pierced with dire annoys. As doth the sun exceed the smallest star, So much the father’s love exceeds the child’s. Yet my complaints are causeless, for the world Affords not children more conformable, And yet methinks my mind presageth still I know not what, and yet I fear some ill. Enter Perillus, with the three daughters, Gonorill, Ragan and Cordella Well, here my daughters come. I have found out A present means to rid me of this doubt. Gonorill Our royal lord and father, in all duty We come to know the tenor of your will, Why you so hastily have sent for us. Leir Dear Gonorill, kind Ragan, sweet Cordella, Ye flourishing branches of a kingly stock, Sprung from a tree that once did flourish green, Whose blossoms now are nipped with winter’s frost, And pale, grim Death doth wait upon my steps, And summons me unto his next assizes. Therefore, dear daughters, as ye tender the safety Of him that was the cause of your first being, Resolve a doubt which much molests my mind: Which of you three to me would prove most kind, Which loves me most, and which, at my request, Will soonest yield unto their father’s hest? Gonorill I hope my gracious father makes no doubt Of any of his daughters’ love to him; Yet, for my part, to show my zeal to you, Which cannot be in windy words rehearsed, I prize my love to you at such a rate, I think my life inferior to my love. Should you enjoin me for to tie a millstone About my neck and leap into the sea, At your command I willingly would do it. Yea, for to do you good, I would ascend The highest turret in all Brittany, And from the top leap headlong to the ground. Nay, more, should you appoint me for to marry The meanest vassal in the spacious world, Without reply I would accomplish it. In brief, command whatever you desire, And if I fail, no favor I require. Leir Oh, how thy words revive my dying soul! Cordella Aside Oh, how I do abhor this flattery! Leir But what saith Ragan to her father’s will? Ragan Oh, that my simple utterance could suffice To tell the true intention of my heart, Which burns in zeal of duty to your grace And never can be quenched but by desire To show the same in outward forwardness. Oh, that there were some other maid that durst But make a challenge of her love with me: I’d make her soon confess she never loved Her father half so well as I do you. Ay, then my deeds should prove in plainer case How much my zeal aboundeth to your grace. But, for them all, let this one mean suffice To ratify my love before your eyes: I have right noble suitors to my love, No worse than kings, and happily I love one; Yet, would you have me make my choice anew, I’d bridle fancy, and be ruled by you. Leir Did never Philomel sing so sweet a note? Cordella Aside Did never flatterer tell so false a tale? Leir Speak now, Cordella, make my joys at full, And drop down nectar from thy honey lips. Cordella I cannot paint my duty forth in words; I hope my deeds shall make report for me. But look what love the child doth owe the father: The same to you I bear, my gracious lord. Gonorill Here is an answer answerless indeed! Were you my daughter, I should scarcely brook it. Ragan Dost thou not blush, proud peacock as thou art, To make our father such a slight reply? Leir Why, how now, minion, are you grown so proud? Doth our dear love make you thus peremptory? What, is your love become so small to us As that you scorn to tell us what it is? Do you love us as every child doth love Their father? True indeed, as some Who by disobedience short their fathers’ days, And so would you; some are so father-sick That they make means to rid them from the world, And so would you; some are indifferent Whether their agèd parents live or die, And so are you. But didst thou know, proud girl, What care I had to foster thee to this, Ah, then thou wouldst say as thy sisters do: Our life is less than love we owe to you. Cordella Dear father, do not so mistake my words, Nor my plain meaning be misconstrued; My tongue was never used to flattery. Gonorill You were not best say I flatter: if you do, My deeds shall show I flatter not with you. I love my father better than thou canst. Cordella The praise were great, spoke from another’s mouth, But it should seem your neighbors dwell far off. Ragan Nay, here is one that will confirm as much As she hath said, both for myself and her. I say thou dost not wish my father’s good. Cordella Dear father— Leir Peace, bastard imp, no issue of King Leir! I will not hear thee speak one tittle more. Call not me father if thou love thy life, Nor these thy sisters once presume to name; Look for no help henceforth from me nor mine; Shift as thou wilt and trust unto thyself. My kingdom will I equally divide ’Twixt thy two sisters to their royal dower, And will bestow them worthy their deserts. This done, because thou shalt not have the hope To have a child’s part in the time to come, I presently will dispossess myself And set up these upon my princely throne. Gonorill I ever thought that pride would have a fall. Ragan Plain-dealing sister, your beauty is so sheen, You need no dowry to make you be a queen. Exeunt Leir, Gonorill, Ragan. Cordella Now whither—poor, forsaken—shall I go, When mine own sisters triumph in my woe, But unto Him which doth protect the just? In Him will poor Cordella put her trust. These hands shall labor for to get my spending, And so I’ll live until my days have ending. Perillus Oh, how I grieve to see my lord thus fond To dote so much upon vain flattering words. Ah, if he but with good advice had weighed The hidden tenor of her humble speech, Reason to rage should not have given place, Nor poor Cordella suffer such disgrace. Exit.
Scene 4 Video Sc. 4 Enter the King of Gallia with Mumford and three Nobles more. Gallia Dissuade me not, my lords, I am resolved This next fair wind to sail for Brittany In some disguise, to see if flying Fame Be not too prodigal in the wondrous praise Of these three nymphs, the daughters of King Leir. If present view do answer absent praise, And eyes allow of what our ears have heard, And Venus stand auspicious to my vows, And Fortune favor what I take in hand, I will return seized of as rich a prize As Jason when he won the golden fleece. Mumford Heavens grant you may: the match were full of honor And well beseeming the young Gallian king. I would your grace would favor me so much As make me partner of your pilgrimage. I long to see the gallant British dames And feed mine eyes upon their rare perfections, For till I know the contrary, I’ll say Our dames in France are more fair than they. Gallia Lord Mumford, you have saved me a labor In off’ring that which I did mean to ask, And I most willingly accept your company. Yet, first I will enjoin you to observe Some few conditions which I shall propose. Mumford So that you do not tie mine eyes for looking After the amorous glances of fair dames, So that you do not tie my tongue from speaking, My lips from kissing when occasion serves, My hands from congees, and my knees to bow To gallant girls—which were a task more hard Than flesh and blood is able to endure— Command what else you please, I rest content. Gallia To bind thee from a thing thou canst not leave Were but a mean to make thee seek it more, And therefore speak, look, kiss, salute for me; In these myself am like to second thee. Now hear thy task: I charge thee, from the time That first we set sail for the British shore, To use no words of dignity to me, But, in the friendliest manner that thou canst, Make use of me as thy companion, For we will go disguised in palmers’ weeds, That no man shall mistrust us what we are. Mumford

If that be all, I’ll fit your turn, I warrant you. I am some kin to the Blounts, and, I think, the bluntest of all my kindred; therefore, if I be too blunt with you, thank yourself for praying me to be so.

 Gallia Thy pleasant company will make the way seem short.— It resteth now that in my absence hence I do commit the government to you, My trusty lords and faithful counsellors. Time cutteth off the rest I have to say: The wind blows fair, and I must needs away. Noblemen Heavens send your voyage to as good effect As we your land do purpose to protect. Exeunt.
Scene 5 Video Sc. 5 Enter the King of Cornwall and his man, Servant 1, booted and spurred; a riding wand and a letter in Cornwall’s hand Cornwall But how far distant are we from the court? Servant 1 Some twenty miles, my lord, or thereabouts. Cornwall It seemeth to me twenty thousand miles; Yet hope I to be there within this hour. Servant 1 To himself Then are you like to ride alone for me. I think my lord is weary of his life. Cornwall Sweet Gonorill, I long to see thy face, Which hast so kindly gratified my love. Enter the King of Cambria, booted and spurred with a wand and a letter, and his man, Servant 2 Cambria He looks at the letter. Get a fresh horse, for, by my soul I swear, I am past patience longer to forbear The wished sight of my beloved mistress, Dear Ragan, stay and comfort of my life. Servant 2 To himself Now what in God’s name doth my lord intend? He thinks he ne’er shall come at’s journey’s end. I would he had old Daedalus’ waxen wings That he might fly, so I might stay behind; For ere we get to Troynovant, I see, He quite will tire himself, his horse, and me. Cornwall and Cambria look one upon another and start to see each other there. Cornwall Brother of Cambria, we greet you well, As one whom here we little did expect. Cambria Brother of Cornwall, met in happy time. I thought as much to have met with the Sultan of Persia As to have met you in this place, my lord. No doubt it is about some great affairs That makes you here so slenderly accompanied. Cornwall To say the truth, my lord, it is no less. And, for your part, some hasty wind of chance Hath blown you hither thus upon the sudden. Cambria My lord, to break off further circumstances, For at this time I cannot brook delays, Tell you your reason, I will tell you mine. Cornwall In faith, content; and, therefore, to be brief, For I am sure my haste’s as great as yours: I am sent for to come unto King Leir, Who, by these present letters, promiseth His eldest daughter, lovely Gonorill, To me in marriage and for present dowry The moiety of half his regiment. The lady’s love I long ago possessed, But until now I never had the father’s. Cambria You tell me wonders, yet I will relate Strange news, and henceforth we must brothers call. Witness these lines: his honorable age, Being weary of the troubles of his crown, His princely daughter Ragan will bestow On me in marriage, with half his seigniories, Whom I would gladly have accepted of With the third part, her complements are such. Cornwall If I have one half and you have the other, Then between us we must needs have the whole. Cambria The hole! How mean you that? ’Sblood, I hope We shall have two holes between us. Cornwall Why, the whole kingdom. Cambria Ay, that’s very true. Cornwall What then is left for his third daughter’s dowry, Lovely Cordella, whom the world admires? Cambria ’Tis very strange. I know not what to think, Unless they mean to make a nun of her. Cornwall ’Twere pity such rare beauty should be hid Within the compass of a cloister’s wall; But, howsoe’er, if Leir’s words prove true, It will be good, my lord, for me and you. Cambria Then let us haste, all danger to prevent, For fear delays do alter his intent. Exeunt.
Scene 6 Video Sc. 6 Enter Gonorill and Ragan Gonorill Sister, when did you see Cordella last, That pretty piece that thinks none good enough To speak to her because, sir-reverence, She hath a little beauty extraordinary? Ragan Since time my father warned her from his presence, I never saw her that I can remember. God give her joy of her surpassing beauty; I think her dowry will be small enough. Gonorill I have incensed my father so against her As he will never be reclaimed again. Ragan I was not much behind to do the like. Gonorill Faith, sister, what moves you to bear her such good will? Ragan In truth, I think the same that moveth you: Because she doth surpass us both in beauty. Gonorill Beshrew your fingers, how right you can guess. I tell you true, it cuts me to the heart. Ragan But we will keep her low enough, I warrant, And clip her wings for mounting up too high. Gonorill Whoever hath her shall have a rich marriage of her. Ragan She were right fit to make a parson’s wife, For they, men say, do love fair women well, And many times do marry them with nothing. Gonorill With nothing! Marry, God forbid! Why, are there any such? Ragan I mean, no money. Gonorill I cry you mercy, I mistook you much. And she is far too stately for the church: She’ll lay her husband’s benefice on her back Even in one gown, if she may have her will. Ragan In faith, poor soul, I pity her a little. Would she were less fair or more fortunate. Well, I think long until I see my Morgan, The gallant Prince of Cambria, here arrive. Gonorill And so do I until the Cornwall king Present himself to consummate my joys. Peace, here cometh my father. Enter Leir, Perillus, and others Leir Cease, good my lords, and sue not to reverse Our censure which is now irrevocable. We have dispatchèd letters of contract Unto the kings of Cambria and of Cornwall: Our hand and seal will justify no less. Then do not so dishonor me, my lords, As to make shipwreck of our kingly word. I am as kind as is the pelican That kills itself to save her young ones’ lives, And yet as jealous as the princely eagle That kills her young ones if they do but dazzle Upon the radiant splendor of the sun. Within this two days I expect their coming. Enter Kings of Cornwall and Cambria But in good time they are arrived already. This haste of yours, my lords, doth testify The fervent love you bear unto my daughters, And think yourselves as welcome to King Leir As ever Priam’s children were to him. Cornwall My gracious lord, and father too, I hope, Pardon for that I made no greater haste, But were my horse as swift as was my will, I long ere this had seen your majesty. Cambria No other ’scuse of absence can I frame Than what my brother hath informed your grace; For our undeserved welcome, we do vow Perpetually to rest at your command. Cornwall But you, sweet love, illustrious Gonorill, The regent and the sovereign of my soul, Is Cornwall welcome to your excellency? Gonorill As welcome as Leander was to Hero, Or brave Aeneas to the Carthage queen, So and more welcome is your grace to me. Cambria Oh, may my fortune prove no worse than his Since heavens do know my fancy is as much. Dear Ragan, say if welcome unto thee; All welcomes else will little comfort me. Ragan As gold is welcome to the covetous eye, As sleep is welcome to the traveler, As is fresh water to sea-beaten men, Or moistened showers unto the parchèd ground, Or anything more welcomer than this, So and more welcome lovely Morgan is. Leir What resteth, then, but that we consummate The celebration of these nuptial rites? My kingdom I do equally divide. Princes, draw lots, and take your chance as falls. Then they draw lots. These I resign as freely unto you As erst by true succession they were mine. And here I do freely dispossess myself And make you two my true adopted heirs. Myself will sojourn with my son of Cornwall And take me to my prayers and my beads. I know my daughter Ragan will be sorry Because I do not spend my days with her. Would I were able to be with both at once: They are the kindest girls in Christendom. Perillus I have been silent all this while, my lord, To see if any worthier than myself Would once have spoke in poor Cordella’s cause, But love or fear ties silence to their tongues. Oh, hear me speak for her my gracious lord, Whose deeds have not deserved this ruthless doom, As thus to disinherit her of all. Leir Urge this no more an if thou love thy life! I say she is no daughter that doth scorn To tell her father how she loveth him. Whoever speaketh hereof to me again, I will esteem him for my mortal foe. Come, let us in to celebrate with joy The happy nuptials of these lovely pairs. Exeunt omnes; Perillus remains. Perillus Ah, who so blind as they that will not see The near approach of their own misery? Poor lady, I extremely pity her, And, whilst I live, each drop of my heart blood Will I strain forth to do her any good. Exit.
Scene 7 Video Sc. 7 Enter the King of Gallia and Mumford, disguised like pilgrims. Mumford My lord, how do you brook this British air? Gallia My lord? I told you of this foolish humor And bound you to the contrary, you know. Mumford Pardon me for once, my lord, I did forget. Gallia My lord again? Then let’s have nothing else And so be ta’en for spies, and then ’tis well. Mumford ’Swounds, I could bite my tongue in two for anger! For God’s sake name yourself some proper name. Gallia Call me Tresillus; I’ll call thee Denapoll. Mumford Might I be made the monarch of the world, I could not hit upon these names, I swear. Gallia Then call me Will; I’ll call thee Jack. Mumford Well, be it so, for I have well deserved to be called Jack. Enter Cordella Gallia Stand close, for here a British lady cometh. A fairer creature ne’er mine eyes beheld. Cordella This is a day of joy unto my sisters, Wherein they both are married unto kings, And I, by birth as worthy as themselves, Am turned into the world to seek my fortune. How may I blame the fickle queen of chance That maketh me a pattern of her power? Ah, poor, weak maid, whose imbecility Is far unable to endure these brunts! Oh, father Leir, how dost thou wrong thy child Who always was obedient to thy will! But why accuse I Fortune and my father? No, no, it is the pleasure of my God, And I do willingly embrace the rod. Gallia It is no goddess, for she doth complain On Fortune and th’unkindness of her father. Cordella These costly robes, ill fitting my estate, I will exchange for other meaner habit. Mumford

Now if I had a kingdom in my hands, I would exchange it for a milkmaid’s smock and petticoat that she and I might shift our clothes together.

 Cordella I will betake me to my thread and needle, And earn my living with my fingers’ ends. Mumford O brave! God willing, thou shalt have my custom, By sweet St. Denis here I sadly swear, For all the shirts and nightgear that I wear! Cordella I will profess and vow a maiden’s life. Mumford Then I protest thou shalt not have my custom. Gallia I can forbear no longer for to speak, For if I do I think my heart will break. Mumford ’Sblood, Will, I hope you are not in love with my sempster! Gallia I am in such a labyrinth of love As that I know not which way to get out. Mumford You’ll ne’er get out unless you first get in. Gallia I prithee, Jack, cross not my passions. Mumford Prithee, Will, to her and try her patience. Gallia Thou fairest creature, whatsoe’er thou art, That ever any mortal eyes beheld, Vouchsafe to me, who have o’erheard thy woes, To show the cause of these thy sad laments. Cordella Ah pilgrims, what avails to show the cause When there’s no means to find a remedy? Gallia To utter grief doth ease a heart o’ercharged. Cordella To touch a sore doth aggravate the pain. Gallia The silly mouse, by virtue of her teeth, Released the princely lion from the net. Cordella Kind palmer, which so much desir’st to hear The tragic tale of my unhappy youth, Know this in brief: I am the hapless daughter Of Leir, sometime king of Brittany. Gallia Why, who debars his honorable age From being still the king of Brittany? Cordella None but himself hath dispossessed himself, And given all his kingdom to the kings Of Cornwall and of Cambria with my sisters. Gallia Hath he given nothing to your lovely self? Cordella He loved me not and therefore gave me nothing, Only because I could not flatter him, And in this day of triumph to my sisters Doth Fortune triumph in my overthrow. Gallia Sweet lady, say there should come a king— As good as either of your sisters’ husbands— To crave your love: would you accept of him? Cordella Oh, do not mock with those in misery; Nor do not think, though Fortune have the power To spoil mine honor and debase my state, That she hath any interest in my mind, For if the greatest monarch on the earth Should sue to me in this extremity, Except my heart could love and heart could like Better than any that I ever saw, His great estate no more should move my mind Than mountains move by blast of every wind. Gallia Think not, sweet nymph, ’tis holy palmer’s guise To grievèd souls fresh torments to devise; Therefore, in witness of my true intent, Let heaven and earth bear record of my words: There is a young and lusty Gallian king, So like to me as I am to myself, That earnestly doth crave to have thy love And join with thee in Hymen’s sacred bonds. Cordella Aside The like to thee did ne’er these eyes behold. Oh, live to add new torments to my grief! Why didst thou thus entrap me unawares?— Ah, palmer, my estate doth not befit A kingly marriage as the case now stands. Whilom whenas I lived in honor’s height, A prince perhaps might postulate my love; Now misery, dishonor, and disgrace Hath light on me, and quite reversed the case. Thy king will hold thee wise if thou surcease The suit whereas no dowry will ensue. Then be advisèd, palmer, what to do: Cease for thy king, seek for thyself to woo. Gallia Your birth’s too high for any but a king. Cordella My mind is low enough to love a palmer Rather than any king upon the earth. Gallia Oh, but you never can endure their life, Which is so straight and full of penury. Cordella Oh, yes, I can, and happy if I might. I’ll hold thy palmer’s staff within my hand And think it is the scepter of a queen; Sometime I’ll set thy bonnet on my head And think I wear a rich imperial crown; Sometime I’ll help thee in thy holy prayers And think I am with thee in paradise: Thus I’ll mock Fortune as she mocketh me, And never will my lovely choice repent, For having thee, I shall have all content. Gallia Aside ’Twere sin to hold her longer in suspense Since that my soul hath vowed she shall be mine.— Ah, dear Cordella, cordial to my heart, I am no palmer as I seem to be But hither come in this unknown disguise To view th’admirèd beauty of those eyes. I am the king of Gallia, gentle maid, Although thus slenderly accompanied, And yet thy vassal by imperious Love, And sworn to serve thee everlastingly. Cordella Whate’er you be, of high or low descent, All’s one to me; I do request but this: That as I am, you will accept of me, And I will have you whatsoe’er you be. Yet well I know you come of royal race; I see such sparks of honor in your face. Mumford Have palmers’ weeds such power to win fair ladies? Faith, then I hope the next that falls is mine. Upon condition I no worse might speed, I would forever wear a palmer’s weed. I like an honest and plain-dealing wench That swears, without exceptions, I will have you.

These foppets that know not whether to love a man or no—except they first go ask their mothers’ leave—by this hand, I hate them ten times worse than poison.

 Gallia What resteth, then, our happiness to procure? Mumford Faith, go to church to make the matter sure. Gallia It shall be so because the world shall say, King Leir’s three daughters were wedded in one day. The celebration of this happy chance We will defer until we come to France. Mumford I like the wooing that’s not long a doing.

Well, for her sake, I know what I know: I’ll never marry whilst I live except I have one of these British ladies. My humor is alienated from the maids of France.

 Exeunt.
Scene 8 Video Sc. 8 Enter Perillus alone Perillus The king hath dispossessed himself of all, Those to advance which scarce will give him thanks. His youngest daughter he hath turned away, And no man knows what is become of her. He sojourns now in Cornwall with the eldest, Who flattered him until she did obtain That at his hands which now she doth possess; And, now she sees he hath no more to give, It grieves her heart to see her father live. Oh, whom should man trust in this wicked age When children thus against their parents rage? But he, the mirror of mild patience, Puts up all wrongs and never gives reply, Yet shames she not, in most opprobrious sort, To call him fool and dotard to his face, And sets her parasites of purpose oft In scoffing-wise to offer him disgrace. Oh, iron age! Oh, times! Oh, monstrous, vile, When parents are condemnèd of the child! His pension she hath half restrained from him And will, ere long, the other half, I fear, For she thinks nothing is bestowed in vain But that which doth her father’s life maintain. Trust not alliance, but trust strangers rather, Since daughters prove disloyal to the father. Well, I will counsel him the best I can. Would I were able to redress his wrong! Yet what I can unto my utmost power He shall be sure of to the latest hour. Exit.
Scene 9 Video Sc. 9 Enter Gonorill and Skalliger Gonorill I prithee, Skalliger, tell me what thou think’st: Could any woman of our dignity Endure such quips and peremptory taunts As I do daily from my doting father? Doth’t not suffice that I him keep of alms Who is not able for to keep himself, But, as if he were our better, he should think To check and snap me up at every word? I cannot make me a new-fashioned gown, And set it forth with more than common cost, But his old doting, doltish, withered wit Is sure to give a senseless check for it. I cannot make a banquet extraordinary To grace myself and spread my name abroad But he, old fool, is captious by and by, And saith the cost would well suffice for twice. Judge then, I pray, what reason is’t that I Should stand alone charged with his vain expense And that my sister Ragan should go free, To whom he gave as much as unto me? I prithee, Skalliger, tell me, if thou know, By any means to rid me of this woe. Skalliger Your many favors still bestowed on me Bind me in duty to advise your grace How you may soonest remedy this ill. The large allowance which he hath from you Is that which makes him so forget himself; Therefore, abridge it half and you shall see That, having less, he will more thankful be, For why abundance maketh us forget The fountains whence the benefits do spring. Gonorill Well, Skalliger, for thy kind advice herein, I will not be ungrateful if I live. I have restrainèd half his portion already And I will presently restrain the other, That, having no means to relieve himself, He may go seek elsewhere for better help. Exit Gonorill. Skalliger Go, viperous woman, shame to all thy sex, The heavens no doubt will punish thee for this. And me, a villain that, to curry favor, Have given the daughter counsel ’gainst the father. But us the world doth this experience give: That he that cannot flatter cannot live. Exit.
Scene 10 Video Sc. 10 Enter King of Cornwall, Leir, Perillus, and Nobles Cornwall Father, what aileth you to be so sad? Methinks you frolic not as you were wont. Leir The nearer we do grow unto our graves, The less we do delight in worldly joys. Cornwall But if a man can frame himself to mirth, It is a mean for to prolong his life. Leir Then welcome sorrow, Leir’s only friend, Who doth desire his troubled days had end. Cornwall Comfort yourself, father, here comes your daughter, Who much will grieve, I know, to see you sad. Enter Gonorill Leir But more doth grieve, I fear, to see me live. Cornwall My Gonorill, you come in wishèd time To put your father from these pensive dumps. In faith, I fear that all things go not well. Gonorill What, do you fear that I have angered him? Hath he complained of me unto my lord? I’ll provide him a piece of bread and cheese, For in a time he’ll practise nothing else Than carry tales from one unto another. ’Tis all his practice for to kindle strife ’Twixt you, my lord, and me your loving wife. But I will take an order, if I can, To cease th’effect where first the cause began. Cornwall Sweet, be not angry in a partial cause: He ne’er complained of thee in all his life.— Father, you must not weigh a woman’s words. Leir Alas, not I. Poor soul, she breeds young bones, And that is it makes her so touchy sure. Gonorill What, breeds young bones—already! You will make An honest woman of me then, belike. O vile old wretch! Whoever heard the like, That seeketh thus his own child to defame? Cornwall I cannot stay to hear this discord sound. Exit Cornwall. Gonorill To Leir and his attendants For anyone that loves your company, You may go pack and seek some other place To sow the seed of discord and disgrace. Exit Gonorill. Leir Thus, say or do the best that e’er I can, ’Tis wrested straight into another sense. This punishment my heavy sins deserve, And more than this ten thousand thousand times, Else agèd Leir them could never find Cruel to him to whom he hath been kind. Why do I overlive myself, to see The course of nature quite reversed in me? Ah, gentle Death, if ever any wight Did wish thy presence with a perfect zeal, Then come, I pray thee, even with all my heart, And end my sorrows with thy fatal dart. He weeps. Perillus Ah, do not so disconsolate yourself, Nor dew your agèd cheeks with wasting tears. Leir What man art thou that takest any pity Upon the worthless state of old Leir? Perillus One who doth bear as great a share of grief, As if it were my dearest father’s case. Leir Ah, good my friend, how ill art thou advised For to consort with miserable men. Go learn to flatter where thou mayst in time Get favor ’mongst the mighty, and so climb; For now I am so poor and full of want As that I ne’er can recompense thy love. Perillus What’s got by flattery doth not long endure, And men in favor live not most secure. My conscience tells me if I should forsake you, I were the hateful’st excrement on the earth, Which well do know, in course of former time, How good my lord hath been to me and mine. Leir Did I e’er raise thee higher than the rest Of all thy ancestors which were before? Perillus I ne’er did seek it, but by your good grace I still enjoyed my own with quietness. Leir Did I e’er give thee living to increase The due revenues which thy father left? Perillus I had enough, my lord, and having that, What should you need to give me any more? Leir Oh, did I ever dispossess myself And give thee half my kingdom in good will? Perillus Alas, my lord, there were no reason why You should have such a thought to give it me. Leir Nay, if thou talk of reason, then be mute, For with good reason I can thee confute. If they, which first by nature’s sacred law Do owe to me the tribute of their lives, If they to whom I always have been kind And bountiful beyond comparison, If they for whom I have undone myself And brought my age unto this extreme want, Do now reject, condemn, despise, abhor me, What reason moveth thee to sorrow for me? Perillus Where reason fails let tears confirm my love, And speak how much your passions do me move. Ah, good my lord, condemn not all for one: You have two daughters left to whom I know You shall be welcome, if you please to go. Leir Oh, how thy words add sorrow to my soul, To think of my unkindness to Cordella, Whom causeless I did dispossess of all Upon th’unkind suggestions of her sisters; And for her sake I think this heavy doom Is fallen on me, and not without desert. Yet unto Ragan was I always kind, And gave to her the half of all I had. It may be, if I should to her repair, She would be kinder and entreat me fair. Perillus No doubt she would, and practise, ere’t be long, By force of arms for to redress your wrong. Leir Well, since thou dost advise me for to go, I am resolved to try the worst of woe. Exeunt.
Scene 11 Video Sc. 11 Enter Ragan alone Ragan How may I bless the hour of my nativity Which bodeth unto me such happy stars! How may I thank kind Fortune that vouchsafes To all my actions such desired event! I rule the king of Cambria as I please; The states are all obedient to my will And look whate’er I say, it shall be so; Not anyone that dareth answer no. My eldest sister lives in royal state And wanteth nothing fitting her degree; Yet hath she such a cooling card withal As that her honey savoreth much of gall. My father with her is quartermaster still, And many times restrains her of her will, But, if he were with me, and served me so, I’d send him packing somewhere else to go: I’d entertain him with such slender cost That he should quickly wish to change his host. Exit.
Scene 12 Video Sc. 12 Enter Cornwall, Gonorill, and attendants Cornwall Ah, Gonorill, what dire unhappy chance Hath sequestered thy father from our presence That no report can yet be heard of him? Some great unkindness hath been offered him, Exceeding far the bounds of patience, Else all the world shall never me persuade He would forsake us without notice made. Gonorill Alas, my lord, whom doth it touch so near, Or who hath interest in this grief but I, Whom sorrow had brought to her longest home, But that I know his qualities so well? I know he is but stol’n upon my sister At unawares to see her how she fares And spend a little time with her, to note How all things go and how she likes her choice; And when occasion serves, he’ll steal from her And unawares return to us again. Therefore, my lord, be frolic and resolve To see my father here again ere long. Cornwall I hope so too, but yet to be more sure I’ll send a post immediately to know Whether he be arrivèd there or no. Exit Cornwall with attendants. Gonorill But I will intercept the messenger And temper him, before he doth depart, With sweet persuasions and with sound rewards, That his report shall ratify my speech And make my lord cease further to inquire. If he be not gone to my sister’s court, As sure my mind presageth that he is, He haply may, by travelling unknown ways, Fall sick, and as a common passenger Be dead and buried. Would God it were so well, For then there were no more to do but this: He went away, and none knows where he is. But say he be in Cambria with the king And there exclaim against me, as he will; I know he is as welcome to my sister As water is into a broken ship. Well, after him I’ll send such thunderclaps Of slander, scandal, and invented tales That all the blame shall be removed from me And, unperceived, rebound upon himself. Thus with one nail another I’ll expel, And make the world judge that I used him well. Enter the Messenger that should go to Cambria, with a letter in his hand. Gonorill My honest friend, whither away so fast? Messenger

To Cambria, madam, with letters from the king.

 Gonorill

To whom?

 Messenger

Unto your father, if he be there.

 Gonorill

Let me see them.

 She opens them. Messenger

Madam, I hope your grace will stand between me and my neck-verse if I be called in question for opening the king’s letters.

 Gonorill

’Twas I that opened them; it was not thou.

 Messenger

Ay, but you need not care, and so must I, a handsome man, be quickly trussed up; and when a man’s hanged, all the world cannot save him.

 Gonorill He that hangs thee were better hang his father, Or that but hurts thee in the least degree. I tell thee, we make great account of thee. Messenger I am o’erjoyed; I surfeit of sweet words. Kind Queen, had I a hundred lives, I would Spend ninety-nine of them for you for that word. Gonorill Ay, but thou wouldst keep one life still, And that’s as many as thou art like to have. Messenger

That one life is not too dear for my good queen: this sword, this buckler, this head, this heart, these hands, arms, legs, tripes, bowels, and all the members else whatsoever, are at your dispose. Use me, trust me, command me; if I fail in anything, tie me to a dung cart and make a scavenger’s horse of me, and whip me so long as I have any skin on my back.

 Gonorill

In token of further employment, take that.

 Flings him a purse. Messenger

A strong bond, a firm obligation, good in law, good in law. If I keep not the condition, let my neck be the forfeiture of my negligence.

 Gonorill

I like thee well; thou hast a good tongue.

 Messenger

And as bad a tongue, if it be set on it, as any oysterwife at Billingsgate hath. Why, I have made many of my neighbors forsake their houses with railing upon them, and go dwell elsewhere, and so, by my means, houses have been good cheap in our parish. My tongue being well whetted with choler is more sharp than a razor of Palermo.

 Gonorill Oh, thou art a fit man for my purpose. Messenger Commend me not, sweet Queen, before you try me. As my deserts are, so do think of me. Gonorill

Well said. Then this is thy trial: instead of carrying the king’s letters to my father, carry thou these letters to my sister, which contain matter quite contrary to the other. There shall she be given to understand that my father hath detracted her, given out slanderous speeches against her, and that he hath most intolerably abused me, set my lord and me at variance, and made mutinies amongst the commons.

These things—although it be not so— Yet thou must affirm them to be true With oaths and protestations as will serve To drive my sister out of love with him And cause my will accomplishèd to be. This do, thou winn’st my favor forever, And makst a highway of preferment to thee And all thy friends. Messenger

It sufficeth; conceit, it is already done. I will so tongue-whip him that I will leave him as bare of credit as a poulter leaves a cony when she pulls off his skin.

 Gonorill

Yet there is a further matter.

 Messenger

I thirst to hear it.

 Gonorill

If my sister thinketh convenient, as my letters importeth, to make him away, hast thou the heart to effect it?

 Messenger Few words are best in so small a matter; These are but trifles. By this book I will. He kisses the paper. Gonorill About it presently; I long till it be done. Messenger I fly, I fly. Exeunt.
Scene 13 Video Sc. 13 Enter Cordella alone Cordella I have been over-negligent today In going to the temple of my God To render thanks for all his benefits Which he miraculously hath bestowed on me In raising me out of my mean estate Whenas I was devoid of worldly friends And placing me in such a sweet content As far exceeds the reach of my deserts. My kingly husband, mirror of his time For zeal, for justice, kindness, and for care To God, his subjects, me, and common weal, By His appointment was ordained for me. I cannot wish the thing that I do want, I cannot want the thing but I may have, Save only this which I shall ne’er obtain: My father’s love. Oh, this I ne’er shall gain. I would abstain from any nutriment And pine my body to the very bones; Barefoot, I would on pilgrimage set forth Unto the furthest quarters of the earth, And all my lifetime would I sackcloth wear, And mourning-wise pour dust upon my head, So he but to forgive me once would please, That his grey hairs might go to heaven in peace. And yet I know not how I him offended, Or wherein justly I have deserved blame. O sisters! You are much to blame in this: It was not he but you that did me wrong. Yet God forgive both him and you and me, E’en as I do in perfect charity. I will to church and pray unto my savior That, ere I die, I may obtain his favor. Exit.
Scene 14 Video Sc. 14 Enter Leir and Perillus faintly Perillus Rest on me, my lord, and stay yourself; The way seems tedious to your agèd limbs. Leir Nay, rest on me, kind friend, and stay thyself; Thou art as old as I, but more kind. Perillus Ah, good my lord, it ill befits that I Should lean upon the person of a king. Leir But it fits worse that I should bring thee forth, That had no cause to come along with me, Through these uncouth paths and tireful ways, And never ease thy fainting limbs a whit. Thou hast left all—ay, all—to come with me, And I, for all, have nought to guerdon thee. Perillus Cease, good my lord, to aggravate my woes With these kind words, which cut my heart in two To think your will should want the power to do. Leir Cease, good Perillus, for to call me lord, And think me but the shadow of myself. Perillus That honorable title will I give Unto my lord so long as I do live. Oh, be of comfort, for I see the place Whereas your daughter keeps her residence. And, lo, in happy time the Cambrian prince Is here arrived to gratify our coming. Enter the Prince of Cambria, Ragan, and Nobles; look upon them and whisper together. Leir Were I best speak or sit me down and die? I am ashamed to tell this heavy tale. Perillus Then let me tell it, if you please, my lord. ’Tis shame for them that were the cause thereof. Cambria What two old men are those that seem so sad? Methinks I should remember well their looks. Ragan No, I mistake not, sure it is my father. Aside I must dissemble kindness now of force. She runneth to him, and kneels down, saying: Father, I bid you welcome, full of grief, To see your grace used thus unworthily, And ill-befitting for your reverend age To come on foot a journey so indurable. Oh, what disaster chance hath been the cause To make your cheeks so hollow, spare, and lean?— He cannot speak for weeping. For God’s love, come, Let us refresh him with some needful things And at more leisure we may better know Whence springs the ground of this unlooked-for woe. Cambria Come, father; ere we any further talk, You shall refresh you after this weary walk. Exeunt all but Ragan. Ragan Comes he to me with finger in the eye To tell a tale against my sister here, Whom I do know he greatly hath abused? And now, like a contentious crafty wretch, He first begins for to complain himself, Whenas himself is in the greatest fault. I’ll not be partial in my sister’s cause, Nor yet believe his doting vain reports, Who, for a trifle, safely I dare say, Upon a spleen is stolen thence away, And here, forsooth, he hopeth to have harbor And to be moaned and made on like a child. But ere’t be long, his coming he shall curse, And truly say he came from bad to worse. Yet will I make fair weather to procure Convenient means, and then I’ll strike it sure. Exit.
Scene 15Video Sc. 15 Enter Messenger alone Messenger Now happily I am arrivèd here Before the stately palace of the Cambrian king. If Leir be here safe-seated and in rest, To rouse him from it I will do my best. Enter Ragan Now, bags of gold, your virtue is, no doubt, To make me in my message bold and stout.— The king of heaven preserve your majesty, And send your highness everlasting reign. Ragan Thanks, good my friend, but what imports thy message? Messenger Kind greetings from the Cornwall queen; The residue these letters will declare. She opens the letters. Ragan How fares our royal sister? Messenger I did leave her at my parting in good health. She reads the letter, frowns, and stamps. Aside See how her color comes and goes again, Now red as scarlet, now as pale as ash; See how she knits her brow, and bites her lips, And stamps, and makes a dumbshow of disdain Mixed with revenge and violent extremes. Here will be more work and more crowns for me. Ragan Aside Alas, poor soul, and hath he used her thus? And is he now come hither with intent To set divorce betwixt my lord and me? Doth he give out that he doth hear report That I do rule my husband as I list, And therefore means to alter so the case That I shall know my lord to be my head? Well, it were best for him to take good heed, Or I will make him hop without a head For his presumption, dotard that he is. In Cornwall he hath made such mutinies— First, setting of the king against the queen, Then stirring up the commons ’gainst the king— That had he there continued any longer, He had been called in question for his fact. So upon that occasion thence he fled, And comes thus slyly stealing unto us, And now already since his coming hither, My lord and he are grown in such a league That I can have no conference with his grace. I fear he doth already intimate Some forgèd cavillations ’gainst my state. ’Tis therefore best to cut him off in time, Lest slanderous rumors, once abroad dispersed, It is too late for them to be reversed.— To the Messenger Friend, as the tenor of these letters shows, My sister puts great confidence in thee. Messenger She never yet committed trust to me But that, I hope, she found me always faithful. So will I be to any friend of hers That hath occasion to employ my help. Ragan Hast thou the heart to act a stratagem, And give a stab or two if need require? Messenger I have a heart compact of adamant Which never knew what melting pity meant. I weigh no more the murd’ring of a man Than I respect the cracking of a flea When I do catch her biting on my skin. If you will have your husband or your father Or both of them sent to another world, Do but command me do’t: it shall be done. Ragan It is enough; we make no doubt of thee. Meet us tomorrow, here, at nine o’clock. Meanwhile, farewell, She gives him a purse. And drink that for my sake. Exit Ragan. Messenger Ay, this is it will make me do the deed. Oh, had I every day such customers, This were the gainful’st trade in Christendom! A purse of gold giv’n for a paltry stab! Why, here’s a wench that longs to have a stab. Well, I could give it her, and ne’er hurt her neither. Exit Messenger.
Scene 16 Video Sc. 16 Enter the King of Gallia and Cordella Gallia When will these clouds of sorrow once disperse And smiling joy triumph upon thy brow? When will this scene of sadness have an end And pleasant acts ensue to move delight? When will my lovely queen cease to lament And take some comfort to her grievèd thoughts? If of thyself thou deignst to have no care, Yet pity me whom thy grief makes despair. Cordella Oh, grieve not you, my lord, you have no cause. Let not my passions move your mind a whit, For I am bound by nature to lament For his ill will that life to me first lent. If so the stalk be drièd with disdain, Withered and sere the branch must needs remain. Gallia But thou art now graft in another stock: I am the stock and thou the lovely branch, And from my root continual sap shall flow To make thee flourish with perpetual spring. Forget thy father and thy kindred now, Since they forsake thee like inhumane beasts. Think they are dead since all their kindness dies, And bury them where black oblivion lies. Think not thou art the daughter of old Leir, Who did unkindly disinherit thee, But think thou art the noble Gallian queen, And wife to him that dearly loveth thee. Embrace the joys that present with thee dwell; Let sorrow pack and hide herself in hell. Cordella Not that I miss my country or my kin, My old acquaintance or my ancient friends— Doth any whit distemperate my mind, Knowing you, which are more dear to me Than country, kin and all things else can be? Yet pardon me, my gracious lord, in this, For what can stop the course of nature’s power? As easy is it for four-footed beasts To stay themselves upon the liquid air And mount aloft into the element And overstrip the feathered fowls in flight, As easy is it for the slimy fish To live and thrive without the help of water, As easy is it for the blackamoor To wash the tawny colour from his skin, Which all oppose against the course of nature, As I am able to forget my father. Gallia Mirror of virtue, Phoenix of our age! Too kind a daughter for an unkind father! Be of good comfort, for I will dispatch Ambassadors immediately for Britain, Unto the king of Cornwall’s court, whereas Your father keepeth now his residence, And in the kindest manner him entreat That, setting former grievances apart, He will be pleased to come and visit us. If no entreaty will suffice the turn, I’ll offer him the half of all my crown. If that moves not, we’ll furnish out a fleet And sail to Cornwall for to visit him, And there you shall be firmly reconciled In perfect love, as erst you were before. Cordella Where tongue cannot sufficient thanks afford, The king of heaven remunerate my lord. Gallia Only be blithe and frolic, sweet, with me; This and much more I’ll do to comfort thee.
Scene 17 Video Sc. 17 Enter Messenger alone Messenger It is a world to see, now I am flush, How many friends I purchase everywhere! How many seek to creep into my favor, And kiss their hands and bend their knees to me! No more, here comes the queen; now shall I know her mind, And hope for to derive more crowns from her. Enter Ragan Ragan My friend, I see thou mindst thy promise well And art before me here, methinks, today. Messenger I am a poor man, an it like your grace, But yet I always love to keep my word. Ragan Well, keep thy word with me and thou shalt see That of a poor man I will make thee rich. Messenger I long to hear it; it might have been dispatched If you had told me of it yesternight. Ragan It is a thing of right strange consequence, And well I cannot utter it in words. Messenger It is more strange that I am not by this Beside myself with longing for to hear it. Were it to meet the devil in his den And try a bout with him for a scratched face, I’d undertake it if you would but bid me. Ragan Ah, good my friend, that I should have thee do Is such a thing as I do shame to speak, Yet it must needs be done. Messenger I’ll speak it for thee, Queen; shall I kill thy father? I know ’tis that, an if it be so, say. Ragan Ay. Messenger Why, that’s enough. Ragan And yet that is not all. Messenger What else? Ragan Thou must kill that old man that came with him. Messenger Here are two hands; for each of them is one. Ragan And for each hand here is a recompense. Gives him two purses. Messenger Oh, that I had ten hands by miracle, I could tear ten in pieces with my teeth, So in my mouth you’d put a purse of gold. But in what manner must it be effected? Ragan Tomorrow morning ere the break of day, I by a wile will send them to the thicket That is about some two miles from the court, And promise them to meet them there myself Because I must have private conference About some news I have received from Cornwall. This is enough, I know, they will not fail, And then be ready for to play thy part, Which done, thou mayst right easily escape And no man once mistrust thee for the fact. But yet, before thou prosecute the act, Show him the letter which my sister sent; There let him read his own indictment first, And then proceed to execution. But see thou faint not, for they will speak fair. Messenger Could he speak words as pleasing as the pipe Of Mercury, which charmed the hundred eyes Of watchful Argos and enforced him sleep, Yet here are words so pleasing to my thoughts, To the purse As quite shall take away the sound of his. Exit Messenger. Ragan About it then, and when thou hast dispatched, I’ll find a means to send thee after him. Exit.
Scene 18 Video Sc. 18 Enter Cornwall and Gonorill Cornwall I wonder that the messenger doth stay Whom we dispatched for Cambria so long since. If that his answer do not please us well, And he do show good reason for delay, I’ll teach him how to dally with his king, And to detain us in such long suspense. Gonorill My lord, I think the reason may be this: My father means to come along with him And, therefore, ’tis his pleasure he shall stay For to attend upon him on the way. Cornwall It may be so, and therefore till I know The truth thereof, I will suspend my judgment. Enter Servant Servant 1 An’t like your grace, there is an ambassador Arrived from Gallia and craves admittance to your majesty. Cornwall From Gallia? What should his message Hither import? Is not your father haply Gone thither? Well, whatsoe’er it be, Bid him come in; he shall have audience. Enter Ambassador What news from Gallia? Speak, ambassador. Ambassador The noble king and queen of Gallia first salute, By me, their honorable father, my lord Leir; Next, they commend them kindly to your graces, As those whose welfare they entirely wish. Letters I have to deliver to my lord Leir, And presents too, if I might speak with him. Gonorill If you might speak with him? Why, do you think We are afraid that you should speak with him? Ambassador Pardon me, madam, for I think not so, But say so only ’cause he is not here. Cornwall Indeed, my friend, upon some urgent cause He is at this time absent from the court, But if a day or two you here repose ’Tis very likely you shall have him here, Or else have certain notice where he is. Gonorill Are not we worthy to receive your message? Ambassador I had in charge to do it to himself. Gonorill Aside It may be then ’twill not be done in haste.— To the Ambassador How doth my sister brook the air of France? Ambassador Exceeding well, and never sick one hour Since first she set her foot upon the shore. Gonorill I am the more sorry. Ambassador I hope not so, madam. Gonorill Didst thou not say that she was ever sick Since the first hour that she arrivèd there? Ambassador No, madam, I said quite contrary. Gonorill Then I mistook thee. Cornwall Then she is merry, if she have her health. Ambassador Oh no, her grief exceeds until the time That she be reconciled unto her father. Gonorill God continue it. Ambassador What, madam? Gonorill Why, her health. Ambassador Amen to that, but God release her grief And send her father in a better mind Than to continue always so unkind. Cornwall I’ll be a mediator in her cause, And seek all means to expiate his wrath. Ambassador Madam, I hope your grace will do the like. Gonorill Should I be a mean to exasperate his wrath Against my sister, whom I love so dear? No, no. Ambassador To expiate or mitigate his wrath, For he hath misconceived without a cause. Gonorill Oh, ay, what else? Ambassador ’Tis pity it should be so; would it were otherwise. Gonorill It were great pity it should be otherwise. Ambassador Than how, madam? Gonorill Than that they should be reconciled again. Ambassador It shows you bear an honorable mind. Gonorill Aside It shows thy understanding to be blind, And that thou hadst need of an interpreter. Well, I will know thy message ere’t be long, And find a mean to cross it, if I can. Cornwall Come in, my friend, and frolic in our court Till certain notice of my father come. Exeunt.
Scene 19 Video Sc. 19 Enter Leir and Perillus Perillus My lord, you are up today before your hour. ’Tis news to you to be abroad so rathe. Leir ’Tis news indeed; I am so extreme heavy, That I can scarcely keep my eyelids open. Perillus And so am I, but I impute the cause To rising sooner than we use to do. Leir Hither my daughter means to come disguised; I’ll sit me down and read until she come. Leir pulls out a book and sits down. Perillus She’ll not be long, I warrant you, my lord, But say a couple of these they call good-fellows Should step out of a hedge and set upon us. We were in good case for to answer them. Leir ’Twere not for us to stand upon our hands. Perillus I fear we scant should stand upon our legs. But how should we do to defend ourselves? Leir Even pray to God to bless us from their hands, For fervent prayer much ill hap withstands. Perillus I’ll sit and pray with you for company; Yet was I ne’er so heavy in my life. They fall both asleep. Enter the Messenger, or murderer, with two daggers in his hands Messenger

Were it not a mad jest if two or three of my profession should meet me and lay me down in a ditch and play rob-thief with me and perforce take my gold away from me whilst I act this stratagem, and by this means the gray-beards should escape? Faith, when I were at liberty again I would make no more to do but go to the next tree and there hang myself.

Sees them and starts But stay, methinks my youths are here already And with pure zeal have prayed themselves asleep. I think they know to what intent they came And are provided for another world. He takes their books away. Now could I stab them bravely, while they sleep, And in a manner put them to no pain, And doing so, I showed them mighty friendship, For fear of death is worse than death itself. But that my sweet queen willed me for to show This letter to them ere I did the deed. Mass, they begin to stir. I’ll stand aside; So shall I come upon them unawares. They wake and rise. Leir I marvel that my daughter stays so long. Perillus I fear we did mistake the place, my lord. Leir God grant we don’t miscarry in the place; I had a short nap, but so full of dread As much amazeth me to think thereof. Perillus Fear not, my lord: dreams are but fantasies And slight imaginations of the brain. Messenger Aside Persuade him so, but I’ll make him and you Confess that dreams do often prove too true. Perillus I pray, my lord, what was the effect of it? I may go near to guess what it portends. Messenger Aside Leave that to me: I will expound the dream. Leir Methought my daughters, Gonorill and Ragan, Stood both before me with such grim aspects, Each brandishing a falchion in their hands, Ready to lop a limb off where it fell, And in their other hands a naked poniard, Wherewith they stabbed me in a hundred places, And, to their thinking, left me there for dead; But then my youngest daughter, fair Cordella, Came with a box of balsam in her hand, And poured it into my bleeding wounds, By whose good means I was recovered well, In perfect health, as erst I was before; And with the fear of this I did awake, And yet for fear my feeble joints do quake. Messenger I’ll make you quake for something presently. Stand, stand! They reel. Leir We do, my friend, although with much ado. Messenger Deliver, deliver! Perillus Deliver us, good Lord, from such as he. Messenger You should have prayed before, while it was time, And then perhaps you might have ’scaped my hands; But you, like faithful watchmen, fell asleep The whilst I came and took your halberds from you He shows their books. And now you want your weapons of defence. How have you any hope to be delivered? This comes because you have no better stay But fall asleep when you should watch and pray. Leir My friend, thou seemst to be a proper man. Messenger Aside ’Sblood, how the old slave claws me by the elbow? He thinks, belike, to ’scape by scraping thus. Perillus And, it may be, are in some need of money. Messenger That to be false, behold my evidence. He shows his purses. Leir If that I have will do thee any good, Give it thee, even with a right good will. Messenger takes Leir’s purse. Perillus Here, take mine too, and wish with all my heart, To do thee pleasure, it were twice as much. Takes Perillus’ purse, and weighs them both in his hands Messenger I’ll none of them: they are too light for me. Puts them in his pocket Leir Why then, farewell, an if thou have occasion In anything to use me to the queen, ’Tis like enough that I can pleasure thee. They proffer to go. Messenger Do you hear? Do you hear, sir? If I had occasion to use you to the queen, Would you do one thing for me, I should ask? Leir Ay, anything that lies within my power; Here is my hand upon it. So farewell. He proffers to go Messenger Hear you, sir? Hear you? Pray, a word with you. Methinks a comely honest ancient man Should not dissemble with one for a vantage. I know when I shall come to try this gear, You will recant from all that you have said. Perillus Mistrust not him, but try him when thou wilt; He is her father, therefore may do much. Messenger I know he is, and therefore mean to try him. You are his friend too; I must try you both. Leir and Perillus Prithee do, prithee do. They proffer to go out. Messenger Stay, gray-beards, then, and prove men of your words. The queen hath tied me by a solemn oath Here in this place to see you both dispatched. Now, for the safeguard of my conscience, Do me the pleasure for to kill yourselves; So shall you save me labor for to do it, And prove yourselves true old men of your words. And here I vow, in sight of all the world, I ne’er will trouble you whilst I live again. Leir Affright us not with terror, good my friend, Nor strike such fear into our agèd hearts. Play not the cat which dallieth with the mouse And on a sudden maketh her a prey, But if thou art marked for the man of death To me and to my Damon, tell me plain, That we may be preparèd for the stroke And make ourselves fit for the world to come. Messenger I am the last of any mortal race That e’er your eyes are likely to behold, And hither sent of purpose to this place To give a final period to your days, Which are so wicked and have lived so long That your own children seek to short your life. Leir Cam’st thou from France of purpose to do this? Messenger

From France? ’Zoons, do I look like a Frenchman? Sure I have not mine own face on: somebody hath changed faces with me and I know not of it. But I am sure my apparel is all English. Sirrah, what meanest thou to ask that question? I could spoil the fashion of this face for anger. A French face!

 Leir Because my daughter, whom I have offended, And at whose hands I have deserved as ill As ever any father did of child, Is queen of France, no thanks at all to me, But unto God, who my injustice sees. If it be so that she doth seek revenge, As with good reason she may justly do, I will most willingly resign my life: A sacrifice to mitigate her ire. I never will entreat thee to forgive, Because I am unworthy for to live. Therefore speak soon, and I will soon make speed, Whether Cordella willed thee do this deed? Messenger As I am a perfect gentleman, thou speakst French to me. I never heard Cordella’s name before, Nor never was in France in all my life; I never knew thou hadst a daughter there To whom thou didst prove so unkind a churl; But thy own tongue declares that thou hast been A vile old wretch, and full of heinous sin. Leir Ah no, my friend, thou are deceivèd much, For her except, whom I confess I wronged Through doting frenzy and o’erjealous love, There lives not any under heaven’s bright eye That can convict me of impiety. And, therefore, sure thou dost mistake the mark, For I am in true peace with all the world. Messenger You are the fitter for the king of Heaven; And, therefore, for to rid thee of suspense, Know thou the queens of Cambria and Cornwall, Thy own two daughters, Gonorill and Ragan, Appointed me to massacre thee here. Why wouldst thou then persuade me that thou art In charity with all the world but now, When thy own issue hold thee in such hate That they have hired me t’abridge thy fate? Oh, fie upon such vile dissembling breath That would deceive even at the point of death. Perillus Am I awake, or is it but a dream? Messenger Fear nothing, man, thou art but in a dream, And thou shalt never wake until doomsday. By then, I hope, thou wilt have slept enough. Leir Yet, gentle friend, grant one thing ere I die. Messenger I’ll grant you anything except your lives. Leir Oh, but assure me by some certain token That my two daughters hired thee to this deed. If I were once resolved of that, then I Would wish no longer life, but crave to die. Messenger That to be true, in sight of heaven, I swear. Leir Swear not by heaven for fear of punishment: The heavens are guiltless of such heinous acts. Messenger I swear by earth, the mother of us all. Leir Swear not by earth; for she abhors to bear Such bastards as are murderers of her sons. Messenger Why then, by hell and all the devils, I swear. Leir Swear not by hell, for that stands gaping wide To swallow thee an if thou do this deed. Thunder and lightning Messenger Aside I would that word were in his belly again: It hath frighted me even to the very heart. This old man is some strong magician: His words have turned my mind from this exploit.— Then neither heavens, earth, nor hell be witness, But let this paper witness for them all. He shows Gonorill’s letter. Aside Shall I relent, or shall I prosecute? Shall I resolve, or were I best recant? I will not crack my credit with two queens To whom I have already passed my word. Oh, but my conscience for this act doth tell, I get heaven’s hate, earth’s scorn, and pains of hell. Leir and Perillus bless themselves. Perillus O just Jehovah, whose almighty power Doth govern all things in this spacious world, How canst thou suffer such outrageous acts To be committed without just revenge? Oh, viperous generation and accursed, To seek his blood whose blood did make them first! Leir Ah, my true friend in all extremity, Let us submit us to the will of God. Things past all sense, let us not seek to know: It is God’s will, and therefore must be so. My friend, I am preparèd for the stroke; Strike when thou wilt, and I forgive thee here, Even from the very bottom of my heart. Messenger But I am not prepared for to strike. Leir Farewell, Perillus, even the truest friend That ever lived in adversity. The latest kindness I’ll request of thee Is that thou go unto my daughter Cordella And carry her her father’s latest blessing. Withal desire her that she will forgive me, For I have wronged her without any cause.— Now, Lord, receive me, for I come to thee, And die, I hope, in perfect charity.— Dispatch, I pray thee; I have lived too long. Messenger Ay, but you are unwise to send an errand By him that never meaneth to deliver it. Why, he must go along with you to heaven; It were not good you should go all alone. Leir No doubt he shall, when, by the course of nature, He must surrender up his due to death; But that time shall not come till God permit. Messenger Nay, presently, to bear you company. I have a passport for him in my pocket, Already sealed, and he must needs ride post. He shows a bag of money Leir The letter which I read imports not so: It only toucheth me, no word of him. Messenger Ay, but the queen commands it must be so, And I am paid for him as well as you. Perillus I, who have borne you company in life, Most willingly will bear a share in death. It skilleth not for me, my friend, a whit, Nor for a hundred such as thou and I. Messenger

Marry, but it doth, sir, by your leave: your good days are past. Though it be no matter for you, ’tis a matter for me; proper men are not so rife.

 Perillus Oh, but beware how thou dost lay thy hand Upon the high anointed of the Lord. Oh, be advisèd ere thou dost begin: Dispatch me straight, but meddle not with him. Leir Friend, thy commission is to deal with me, And I am he that hath deservèd all. The plot was laid to take away my life, And here it is: I do entreat thee take it. Yet, for my sake, and as thou art a man, Spare this my friend that hither with me came. I brought him forth whereas he had not been But for good will to bear me company. He left his friends, his country, and his goods, And came with me in most extremity. Oh, if he should miscarry here and die, Who is the cause of it, but only I? Messenger Why that am I! Let that ne’er trouble thee. Leir Oh no, ’tis I. Oh, had I now to give thee The monarchy of all the spacious world To save his life, I would bestow it on thee; But I have nothing but these tears and prayers, And the submission of a bended knee. Leir kneels. Oh, if all this to mercy move thy mind, Spare him! In heaven thou shalt like mercy find. Messenger

Aside I am as hard to be moved as another, and yet methinks the strength of their persuasions stirs me a little.

 Perillus My friend, if fear of the almighty power Have power to move thee, we have said enough, But if thy mind be movable with gold, We have not presently to give it thee. Yet to thyself thou mayst do greater good To keep thy hands still undefiled from blood, For do but well consider with thyself, When thou hast finished this outrageous act, What horror still will haunt thee for the deed. Think this again, that they which would incense Thee for to be the butcher of their father, When it is done, for fear it should be known Would make a means to rid thee from the world. Oh, then art thou forever tied in chains Of everlasting torments to endure, Even in the hottest hole of grisly hell, Such pains as never mortal tongue can tell. It thunders. Messenger quakes, and lets fall the dagger next to Perillus. Leir Oh, heavens be thanked, he will spare my friend! Now, when thou wilt, come make an end of me. Messenger lets fall the other dagger. Perillus Oh, happy sight! He means to save my lord. The king of heaven continue this good mind. Leir Why stayst thou to do the execution? Messenger I am as wilful as you for your life: I will not do it, now you do entreat me. Perillus Ah, now I see thou hast some spark of grace. Messenger Beshrew you for it; you have put it in me! The parlousest old men that e’er I heard! Well, to be flat, I’ll not meddle with you; Here I found you, and here I’ll leave you. If any ask you why the case so stands, Say that your tongues were better than your hands. Exit Messenger. Perillus Farewell. If ever we together meet, It shall go hard, but I will thee re-greet.— Courage, my lord, the worst is overpast; Let us give thanks to God, and hie us hence. Leir Thou art deceived, for I am past the best And know not whither for to go from hence. Death had been better welcome unto me Than longer life to add more misery. Perillus It were not good to return from whence we came, Unto your daughter Ragan back again. Now let us go to France, unto Cordella, Your youngest daughter; doubtless she will succor you. Leir Oh, how can I persuade myself of that, Since th’other two are quite devoid of love To whom I was so kind, as that my gifts Might make them love me, if ’twere nothing else? Perillus No worldly gifts, but grace from God on high, Doth nourish virtue and true charity. Remember well what words Cordella spake What time you asked her how she loved your grace. She said her love unto you was as much As ought a child to bear unto her father. Leir But she did find my love was not to her As should a father bear unto a child. Perillus That makes not her love to be any less If she do love you as a child should do. You have tried two; try one more for my sake. I’ll ne’er entreat you further trial make. Remember well the dream you had of late, And think what comfort it foretells to us. Leir Come, truest friend that ever man possessed, I know thou counselst all things for the best. If this third daughter play a kinder part, It comes of God, and not of my desert. Exeunt.
Scene 20 Video Sc. 20 Enter the Gallian Ambassador alone. Ambassador There is of late news come unto the court That old Lord Leir remains in Cambria. I’ll hie me thither presently to impart My letters and my message unto him. I never was less welcome to a place In all my lifetime than I have been hither, Especially unto the stately queen Who would not cast one gracious look on me, But still, with louring and suspicious eyes, Would take exceptions at each word I spake, And fain she would have undermined me To know what my embassage did import. But she is like to hop without her hope, And in this matter for to want her will, Though, by report, she’ll have’t in all things else. Well, I will post away for Cambria; Within these few days I hope to be there. Exit.
Scene 21 Video Sc. 21 Enter Gallia, Cordella and Mumford Gallia By this, our father understands our mind And our kind greetings sent to him of late; Therefore, my mind presageth ere’t be long, We shall receive from Britain happy news. Cordella I fear my sister will dissuade his mind, For she to me hath always been unkind. Gallia Fear not, my love, since that we know the worst, The last means helps if that we miss the first. If he’ll not come to Gallia unto us, Then we will sail to Britain unto him. Mumford

Well, if I once see Britain again, I have sworn I’ll ne’er come home without my wench, and I’ll not be forsworn; I’ll rather never come home while I live.

 Cordella Are you sure, Mumford, she is a maid still? Mumford

Nay, I’ll not swear she is a maid, but she goes for one. I’ll take her at all adventures, if I can get her.

 Cordella

Ay, that’s well put in.

 Mumford

Well put in? Nay, it was ill put in, for had it been as well put in as e’er I put in in my days, I would have made her follow me to France.

 Cordella

Nay, you’d have been so kind as take her with you, or else, were I as she, I would have been so loving as I’d stay behind you. Yet I must confess, you are a very proper man, and able to make a wench do more than she would do.

 Mumford

Well, I have a pair of slops for the nonce will hold all your mocks.

 Gallia

Nay, we see you have a handsome hose.

 Cordella

Ay, and of the newest fashion.

 Mumford

More bobs, more; put them in still! They’ll serve instead of bombast; yet put not in too many, lest the seams crack and they fly out amongst you again. You must not think to outface me so easily in my mistress’ quarrel, who if I see once again, ten team of horses shall not draw me away till I have full and whole possession.

 Gallia

Ay, but one team and a cart will serve the turn.

 Cordella

Not only for him, but also for his wench.

 Mumford

Well, you are two to one; I’ll give you over; and since I see you so pleasantly disposed, which indeed is but seldom seen, I’ll claim a promise of you which you shall not deny me, for promise is debt, and by this hand you promised it me, therefore you owe it me, and you shall pay it me, or I’ll sue you upon an action of unkindness.

 Gallia

Prithee, Lord Mumford, what promise did I make thee?

 Mumford

Faith, nothing but this: that the next fair weather, which is very now, you would go in progress down to the seaside, which is very near.

 Gallia Faith, in this motion I will join with thee, And be a mediator to my queen.— Prithee, my love, let this match go forward; My mind foretells ’twill be a lucky voyage. Cordella Entreaty needs not where you may command; So you be pleased, I am right well content. Yet as the sea I much desire to see, So am I most unwilling to be seen. Gallia We’ll go disguised, all unknown to any. Cordella Howsoever you make one, I’ll make another. Mumford And I the third. Oh, I am overjoyed! See what love is, which getteth with a word What all the world besides could ne’er obtain! But what disguises shall we have, my lord? Gallia Faith, thus: my queen and I will be disguised Like a plain country couple, and you shall be Roger, Our man, and wait upon us. Or, if you will, You shall go first, and we will wait on you. Mumford ’Twere more than time; this device is excellent. Come let us about it. Exeunt.
Scene 22 Video Sc. 22 Enter Cambria and Ragan, with Nobles Cambria What strange mischance or unexpected hap Hath thus deprived us of our father’s presence? Can no man tell us what’s become of him, With whom we did converse not two days since? My lords, let everywhere light-horse be sent To scour about through all our regiment; Dispatch a post immediately to Cornwall To see if any news be of him there; Myself will make a strict inquiry here, And all about our cities near at hand, Till certain news of his abode be brought. Exit Nobles. Ragan All sorrow is but counterfeit to mine, Whose lips are almost sealèd up with grief. Mine is the substance whilst they do but seem To weep the loss which tears cannot redeem. Oh, ne’er was heard so strange a misadventure, A thing so far beyond the reach of sense, Since no man’s reason in the cause can enter, What hath removed my father thus from hence? Oh, I do fear some charm or invocation Of wicked spirits or infernal fiends, Stirred by Cordella, moves this innovation And brings my father timeless to his end. But might I know that the detested witch Were certain cause of this uncertain ill, Myself to France would go in some disguise And with these nails scratch out her hateful eyes, For since I am deprivèd of my father, I loathe my life and wish my death the rather. Cambria The heavens are just and hate impiety, And will no doubt reveal such heinous crimes; Censure not any till you know the right: Let Him be judge that bringeth truth to light. Ragan Oh, but my grief, like to a swelling tide, Exceeds the bounds of common patience, Nor can I moderate my tongue so much To conceal them whom I hold in suspect. Cambria This matter shall be sifted; if it be she, A thousand Frances shall not harbor her. Enter the Gallian Ambassador Ambassador All happiness unto the Cambrian king. Cambria Welcome, my friend, from whence is thy embassage? Ambassador I came from Gallia unto Cornwall sent With letters to your honorable father, Whom there not finding, as I did expect, I was directed hither to repair. Ragan Frenchman, what is thy message to my father? Ambassador My letters, madam, will import the same, Which my commission is for to deliver. Ragan In his absence you may trust us with your letters. Ambassador I must perform my charge in such a manner, As I have strict commandment from the king. Ragan There is good packing ’twixt your king and you. You need not hither come to ask for him; You know where he is better than ourselves. Ambassador Madam, I hope not far off. Ragan Hath the young murd’ress, your outrageous queen, No means to color her detested deeds In finishing my guiltless father’s days— Because he gave her nothing to her dower— But by the color of a feigned embassage To send him letters hither to our court? Go carry them to them that sent them hither, And bid them keep their scrolls unto themselves; They cannot blind us with such slight excuse To smother up so monstrous vile abuse. And, were it not it is ’gainst law of arms To offer violence to a messenger, We would inflict such torments on thyself As should enforce thee to reveal the truth. Ambassador Madam, your threats no whit appal my mind: I know my conscience guiltless of this act. My king and queen, I dare be sworn, are free From any thought of such impiety. And, therefore, madam, you have done them wrong, And ill-beseeming with a sister’s love, Who, in mere duty, tender him as much As ever you respected him for dower. The king your husband will not say as much. Cambria I will suspend my judgment for a time Till more appearance give us further light; Yet, to be plain, your coming doth enforce A great suspicion to our doubtful mind, And that you do resemble, to be brief, Him that first robs and then cries, Stop the thief. Ambassador Pray God some near you have not done the like. Ragan Hence, saucy mate, reply no more to us, She strikes him. For law of arms shall not protect thy tongue. Ambassador Ne’er was I offered such discourtesy! God and my king, I trust, ere it be long, Will find a mean to remedy this wrong. Exit Ambassador. Ragan How shall I live to suffer this disgrace At every base and vulgar peasant’s hands? It ill befitteth my imperial state To be thus used, and no man take my part. She weeps. Cambria What should I do? Infringe the law of arms Were to my everlasting obloquy, But I will take revenge upon his master, Which sent him hither to delude us thus. Ragan Nay, if you put up this, be sure, ere long, Now that my father thus is made away, She’ll come and claim a third part of your crown As due unto her by inheritance. Cambria But I will prove her title to be nought But shame and the reward of parricide, And make her an example to the world For after-ages to admire her penance. This will I do, as I am Cambria’s king, Or lose my life to prosecute revenge. Come, first let’s learn what news is of our father, And then proceed as best occasion fits. Exeunt.
Scene 23 Video Sc. 23 Enter Leir, Perillus, and two mariners in sea-gowns and sea-caps. Perillus My honest friends, we are ashamed to show The great extremity of our present state, In that at this time we are brought so low That we want money for to pay our passage. The truth is so: we met with some good-fellows, A little before we came aboard your ship, Which stripped us quite of all the coin we had And left us not a penny in our purses. Yet, wanting money, we will use the mean To see you satisfied to the uttermost. First Mariner looks on Leir. First Mariner

Here’s a good gown; ’twould become me passing well; I should be fine in it.

 Second Mariner looks on Perillus. Second Mariner

Here’s a good cloak; I marvel how I should look in it.

Leir Faith, had we others to supply their room, Though ne’er so mean, you willingly should have them. Second Mariner

Do you hear, sir? You look like an honest man; I’ll not stand to do you a pleasure. Here’s a good, strong, motley gaberdine, cost me fourteen good shillings at Billingsgate; give me your gown for it, and your cap for mine, and I’ll forgive your passage.

 Leir

With all my heart and twenty thanks.

 Leir and First Mariner changeth. Second Mariner

Do you hear, sir? You shall have a better match than he because you are my friend: here is a good sheep’s russet sea-gown: will bide more stress, I warrant you, than two of his. Yet, for you seem to be an honest gentleman, I am content to change it for your cloak, and ask you nothing for your passage more.

 Pulls off Perillus’ cloak Perillus My own I willingly would change with thee, And think myself indebted to thy kindness, But would my friend might keep his garment still. My friend, I’ll give thee this new doublet if thou wilt Restore his gown unto him back again. First Mariner

Nay, if I do, would I might ne’er eat powdered beef and mustard more, nor drink can of good liquor whilst I live. My friend, you have small reason to seek to hinder me of my bargain, but the best is, a bargain’s a bargain.

 Leir To Perillus Kind friend, it is much better as it is, For by this means we may escape unknown Till time and opportunity do fit. Second Mariner Hark, hark, they are laying their heads together; They’ll repent them of their bargain anon. ’Twere best for us to go while we are well. First Mariner

God be with you, sir. For your passage back again, I’ll use you as unreasonable as another.

 Leir

I know thou wilt, but we hope to bring ready money with us when we come back again.

Exeunt Mariners. Were ever men in this extremity, In a strange country, and devoid of friends, And not a penny for to help ourselves? Kind friend, what thinkst thou will become of us? Perillus Be of good cheer, my lord. I have a doublet Will yield us money enough to serve our turns Until we come unto your daughter’s court; And then, I hope, we shall find friends enough. Leir Ah, kind Perillus, that is it I fear, And makes me faint or ever I come there. Can kindness spring out of ingratitude, Or love be reaped where hatred hath been sown? Can henbane join in league with mithridate, Or sugar grow in wormwood’s bitter stalk? It cannot be: they are too opposite, And so am I to any kindness here. I have thrown wormwood on the sugared youth, And, like to henbane, poisoned the fount Whence flowed the mithridate of a child’s good will. I, like an envious thorn, have pricked the heart And turned sweet grapes to sour, unrelished sloes. The causeless ire of my respectless breast Hath soured the sweet milk of Dame Nature’s paps. My bitter words have galled her honey thoughts, And weeds of rancour choked the flower of grace. Then what remainder is of any hope, But all our fortunes will go quite aslope? Perillus Fear not, my lord, the perfect good indeed Can never be corrupted by the bad: A new fresh vessel still retains the taste Of that which first is poured into the same. And therefore, though you name yourself the thorn, The weed, the gall, the henbane, and the wormwood, Yet she’ll continue in her former state, The honey, milk, grape, sugar, mithridate. Leir Thou pleasing orator unto me in woe, Cease to beguile me with thy hopeful speeches. Oh, join with me and think of nought but crosses, And then we’ll one lament another’s losses. Perillus Why say the worst? The worst can be but death, And death is better than for to despair. Then hazard death, which may convert to life, Banish despair, which brings a thousand deaths. Leir O’ercome with thy strong arguments, I yield, To be directed by thee, as thou wilt. As thou yieldst comfort to my crazèd thoughts, Would I could yield the like unto thy body, Which is full weak, I know, and ill-apaid For want of fresh meat and due sustenance. Perillus Alack, my lord, my heart doth bleed to think That you should be in such extremity. Leir Come, let us go and see what God will send: When all means fail, He is the surest friend. Exeunt.
Scene 24Video Sc. 24 Enter the King of Gallia, Cordella, and Mumford, with a basket and table, disguised like country folk. Gallia This tedious journey all on foot, sweet love, Cannot be pleasing to your tender joints Which ne’er were usèd to these toilsome walks. Cordella I never in my life took more delight In any journey than I do in this; Enter attendants with banquet table. It did me good, whenas we happed to light Amongst the merry crew of country folk, To see what industry and pains they took To win them commendations ’mongst their friends. Lord, how they labor to bestir themselves, And in their quirks to go beyond the moon, And so take on them with such antic fits That one would think they were beside their wits! Come away, Roger, with your basket. Mumford Soft, dame, here comes a couple of old youths. I must needs make myself fat with jesting at them. Enter Leir and Perillus, very faintly Cordella Nay, prithee do not; they do seem to be Men much o’ergone with grief and misery. Let’s stand aside and harken what they say. Cordella, Gallia, and Mumford stand aside and listen to Leir and Perillus. Leir Ah, my Perillus, now I see we both Shall end our days in this unfruitful soil. Oh, I do faint for want of sustenance, And thou, I know, in little better case. No gentle tree affords one taste of fruit To comfort us until we meet with men, No lucky path conducts our luckless steps Unto a place where any comfort dwells. Sweet rest betide unto our happy souls, For here I see our bodies must have end. Perillus Ah, my dear lord, how doth my heart lament To see you brought to this extremity! Oh, if you love me, as you do profess, Or ever thought well of me in my life, He strips up his arm. Feed on this flesh, whose veins are not so dry But there is virtue left to comfort you. Oh, feed on this; if this will do you good, I’ll smile for joy to see you suck my blood. Leir I am no cannibal that I should delight To slake my hungry jaws with human flesh; I am no devil, or ten times worse than so, To suck the blood of such a peerless friend. Oh, do not think that I respect my life So dearly as I do thy loyal love.— Ah, Britain, I shall never see thee more, That hast unkindly banishèd thy king, And yet not thou dost make me to complain, But they which were more near to me than thou. Cordella What do I hear? This lamentable voice, Methinks, ere now I oftentimes have heard. Leir Ah, Gonorill, was half my kingdom’s gift The cause that thou didst seek to have my life? Ah, cruel Ragan, did I give thee all, And all could not suffice without my blood? Ah, poor Cordella, did I give thee nought, Nor never shall be able for to give? Oh, let me warn all ages that ensueth How they trust flattery and reject the truth. Well, unkind girls, I here forgive you both— Yet the just heavens will hardly do the like— And only crave forgiveness, at the end, Of good Cordella, and of thee, my friend; Of God, whose majesty I have offended By my transgression many thousand ways; Of her, dear heart, whom I for no occasion Turned out of all through flatterers’ persuasion; Of thee, kind friend, who, but for me, I know, Hadst never come unto this place of woe. Cordella Alack, that ever I should live to see My noble father in this misery. Gallia Sweet love, reveal not what thou art as yet, Until we know the ground of all this ill. Cordella Oh, but some meat, some meat! Do you not see How near they are to death for want of food? Cordella takes Mumford’s basket and empties out the food onto a table. Perillus Lord, which didst help thy servants at their need, Or now or never send us help with speed.— Oh, comfort, comfort! Yonder is a banquet And men and women, my lord; be of good cheer, For I see comfort coming very near. Oh, my lord, a banquet and men and women! Leir Oh, let kind pity mollify their hearts That they may help us in our great extremes. Perillus God save you, friends, and if this blessed banquet Affordeth any food or sustenance, Even for his sake that saved us all from death, Vouchsafe to save us from the grip of famine. Cordella bringeth Perillus to the table. Cordella Here, father, sit and eat; here, sit and drink, And would it were far better for your sakes. Perillus takes Leir by the hand to the table. Perillus I’ll give you thanks anon: my friend doth faint And needeth present comfort. Leir drinks. Mumford Aside I warrant, he ne’er stays to say grace. Oh, there’s no sauce to a good stomach. Perillus The blessèd God of heaven hath thought upon us. Leir The thanks be His, and these kind courteous folk, By whose humanity we are preserved. They eat hungrily. Leir drinks. Cordella And may that draught be unto him as was That which old Aeson drank, which did renew His withered age and made him young again. And may that meat be unto him as was That which Elias ate, in strength whereof He walked forty days and never fainted. To King of Gallia Shall I conceal me longer from my father? Or shall I manifest myself to him? Gallia Forbear a while until his strength return, Lest being overjoyed with seeing thee His poor weak senses should forsake their office And so our cause of joy be turned to sorrow. Perillus What cheer, my lord? How do you feel yourself? Leir Methinks I never ate such savory meat: It is as pleasant as the blessed manna, That rained from heaven amongst the Israelites. It hath recalled my spirits home again And made me fresh as erst I was before. But how shall we congratulate their kindness? Perillus In faith, I know not how sufficiently, But the best mean that I can think on is this: I’ll offer them my doublet in requital, For we have nothing else to spare. Leir Nay, stay, Perillus, for they shall have mine. Perillus Pardon, my lord, I swear they shall have mine. Perillus proffers his doublet; they will not take it. Leir Ah, who would think such kindness should remain Among such strange and unacquainted men, And that such hate should harbor in the breast Of those which have occasion to be best? Cordella Ah, good old father, tell to me thy grief; I’ll sorrow with thee if not add relief. Leir Ah, good young daughter, I may call thee so, For thou art like a daughter I did owe. Cordella Do you not owe her still? What, is she dead? Leir No, God forbid, but all my interest’s gone By showing myself too much unnatural; So have I lost the title of a father And may be called a stranger to her rather. Cordella Your title’s good still, for ’tis always known A man may do as him list with his own. But have you but one daughter then in all? Leir Yes, I have more by two than would I had. Cordella Oh, say not so, but rather see the end: They that are bad may have the grace to mend. But how have they offended you so much? Leir If from the first I should relate the cause, ’Twould make a heart of adamant to weep, And thou, poor soul, kind-hearted as thou art, Dost weep already ere I do begin. Cordella For God’s love tell it, and when you have done I’ll tell the reason why I weep so soon. Leir Then know this first, I am a Briton born, And had three daughters by one loving wife; And, though I say it, of beauty they were sped, Especially the youngest of the three, For her perfections hardly matched could be. On these I doted with a jealous love And thought to try which of them loved me best By asking them which would do most for me. The first and second flattered me with words And vowed they loved me better than their lives. The youngest said she loved me as a child Might do. Her answer I esteemed most vile And presently, in an outrageous mood, I turned her from me to go sink or swim, And all I had, even to the very clothes, I gave in dowry with the other two; And she that best deserved the greatest share, I gave her nothing but disgrace and care. Now mark the sequel: when I had done thus, I sojourned in my eldest daughter’s house Where, for a time, I was entreated well And lived in state sufficing my content. But every day her kindness did grow cold, Which I with patience put up well enough, And seemèd not to see the things I saw. But at the last she grew so far incensed With moody fury and with causeless hate That, in most vile and contumelious terms, She bade me pack and harbor somewhere else. Then was I fain for refuge to repair Unto my other daughter for relief, Who gave me pleasing and most courteous words, But in her actions showed herself so sore As never any daughter did before. She prayed me in a morning out betime To go to a thicket two miles from the court, ’Pointing that there she would come talk with me; There she had set a shag-haired murd’ring wretch To massacre my honest friend and me. Then judge yourself, although my tale be brief, If ever man had greater cause of grief. Gallia Nor never like impiety was done Since the creation of the world begun. Leir And now I am constrained to seek relief Of her to whom I have been so unkind, Whose censure, if it do award me death, I must confess she pays me but my due. But if she show a loving daughter’s part, It comes of God and her, not my desert. Cordella No doubt she will. I dare be sworn she will. Leir How know you that, not knowing what she is? Cordella Myself a father have a great way hence, Used me as ill as ever you did her; Yet, that his reverend age I once might see, I’d creep along to meet him on my knee. Leir Oh, no men’s children are unkind but mine. Cordella Condemn not all because of others’ crime, But look, dear father, look, behold and see, Thy loving daughter speaketh unto thee. She kneels. Leir Oh, stand thou up! It is my part to kneel And ask forgiveness for my former faults. He kneels. Cordella Oh, if you wish I should enjoy my breath, Dear father rise, or I receive my death. He riseth. Leir Then I will rise, to satisfy your mind, But kneel again, till pardon be resigned. He kneels. Cordella I pardon you; the word beseems not me, But I do say so for to ease your knee. You gave me life, you were the cause that I Am what I am, who else had never been. Leir But you gave life to me and to my friend, Whose days had else had an untimely end. Cordella You brought me up whenas I was but young, And far unable for to help myself. Leir I cast thee forth whenas thou wast but young And far unable for to help thyself. Cordella God, world, and nature say I do you wrong, That can endure to see you kneel so long. Gallia Let me break off this loving controversy, Which doth rejoice my very soul to see. Good father, rise. She is your loving daughter, He riseth. And honors you with as respective duty As if you were the monarch of the world. Cordella But I will never rise from off my knee, She kneels. Until I have your blessing and your pardon Of all my faults committed any way From my first birth unto this present day. Leir The blessing, which the God of Abraham gave Unto the tribe of Judah, light on thee, And multiply thy days, that thou mayst see Thy children’s children prosper after thee. Thy faults, which are just none that I do know, God pardon on high, and I forgive below. She riseth. Cordella Now is my heart at quiet and doth leap Within my breast for joy of this good hap. And now, dear father, welcome to our court, And welcome, kind Perillus, unto me, Mirror of virtue and true honesty. Leir Oh, he hath been the kindest friend to me That ever man had in adversity. Perillus My tongue doth fail to say what heart doth think, I am so ravished with exceeding joy. Gallia All you have spoke, now let me speak my mind, And in few words much matter here conclude: He kneels. If e’er my heart do harbor any joy Or true content repose within my breast Till I have rooted out this viperous sect And repossessed my father of his crown, Let me be counted for the perjured’st man That ever spake word since the world began. He rises. Mumford Let me pray too, that never prayed before; Mumford kneels. If e’er I resalute the British earth, As, ere’t be long, I do presume I shall, And do return from thence without my wench, Let me be gelded for my recompense. Mumford rises. Gallia Come, let’s to arms for to redress this wrong. Till I am there, methinks the time seems long. Exeunt.
Scene 25 Video Sc. 25 Enter Ragan alone Ragan I feel a hell of conscience in my breast, Tormenting me with horror for my fact, And makes me in an agony of doubt For fear the world should find my dealing out. The slave whom I appointed for the act, I ne’er set eye upon the peasant since. Oh, could I get him for to make him sure, My doubts would cease, and I should rest secure. But if the old men with persuasive words Have saved their lives and made him to relent, Then are they fled unto the court of France, And like a trumpet manifest my shame. A shame on these white-livered slaves, say I, That with fair words so soon are overcome. Oh, God, that I had been but made a man, Or that my strength were equal with my will! These foolish men are nothing but mere pity, And melt as butter doth against the sun. Why should they have pre-eminence over us, Since we are creatures of more brave resolve? I swear, I am quite out of charity With all the heartless men in Christendom. A pox upon them when they are afraid To give a stab or slit a paltry windpipe, Which are so easy matters to be done. Well, had I thought the slave would serve me so, Myself would have been executioner; ’Tis now undone, and if that it be known, I’ll make as good shift as I can for one. He that repines at me howe’er it stands, ’Twere best for him to keep him from my hands. Exit.
Scene 26 Video Sc. 26 Sound drums and trumpets Enter the King of Gallia, Leir, Mumford, and the army Gallia Thus have we brought our army to the sea Whereas our ships are ready to receive us. The wind stands fair and we in four hours’ sail May easily arrive on British shore Where, unexpected, we may them surprise And gain a glorious victory with ease. Wherefore, my loving countrymen, resolve, Since truth and justice fighteth on our sides, That we shall march with conquest where we go. Myself will be as forward as the first, And step-by-step march with the hardiest wight; And not the meanest soldier in our camp Shall be in danger, but I’ll second him.— To Mumford To you, my lord, we give the whole command Of all the army, next unto ourself, Not doubting of you but you will extend Your wonted valor in this needful case, Encouraging the rest to do the like By your approvèd magnanimity. Mumford My liege, ’tis needless to spur a willing horse That’s apt enough to run himself to death, For here I swear by that sweet saint’s bright eyes, Which are the stars which guide me to good hap, Either to see my old lord crowned anew, Or in his cause to bid the world adieu. Leir Thanks, good Lord Mumford, ’tis more of your good will Than any merit or desert in me. Mumford To the soldiers And now to you, my worthy countrymen, Ye valiant race of Genovestan Gauls, Surnamed Redshanks for your chivalry, Because you fight up to the shanks in blood, Show yourselves now to be right Gauls indeed, And be so bitter on your enemies That they may say you are as bitter as gall. Gall them, brave shot, with your artillery, Gall them, brave halberds, with your sharp-point bills, Each in their ’pointed place. Not one, but all, Fight for the credit of yourselves and Gaul. Gallia Then what should more persuasion need to those That rather wish to deal than hear of blows? Let’s to our ships. And if that God permit, In four hours’ sail I hope we shall be there. Mumford And in five hours more, I make no doubt But we shall bring our wished desires about. Exeunt.
Scene 27 Video Sc. 27 Enter a Captain of the Watch (1 Captain) and two Watchmen 1 Captain My honest friends, it is your turn tonight To watch in this place, near about the beacon, And vigilantly have regard, If any fleet of ships pass hitherward; Which if you do, your office is to fire The beacon presently and raise the town. Exit. First Watchman

Ay, ay, ay, fear nothing. We know our charge, I warrant: I have been a watchman about this beacon this thirty year, and yet I ne’er see it stir but stood as quietly as might be.

 Second Watchman

Faith, neighbor, and you’ll follow my ’vice, instead of watching the beacon, we’ll go to Goodman Jennings’ and watch a pot of ale and a rasher of bacon. An if we do not drink ourselves drunk, then so, I warrant, the beacon will see us when we come out again.

 First Watchman

Ay, but how if somebody excuse us to the captain?

 Second Watchman

’Tis no matter. I’ll prove by good reason that we watch the beacon, ass for example—

 First Watchman

I hope you do not call me ass by craft, neighbor.

 Second Watchman

No, no, but for example: say here stands the pot of ale, that’s the beacon.

 First Watchman

Ay, ay, ’tis a very good beacon.

 Second Watchman

Well, say here stands your nose: that’s the fire.

 First Watchman

Indeed, I must confess ’tis somewhat red.

 Second Watchman

I see come marching in a dish, half a score pieces of salt bacon.

 First Watchman

I understand your meaning. That’s as much to say half a score ships.

 Second Watchman

True; you construe right. Presently, like a faithful watchman, I fire the beacon and call up the town.

 First Watchman

Ay, that’s as much as to say you set your nose to the pot, and drink up the drink.

 Second Watchman

You are in the right. Come, let’s go fire the beacon.

 Exeunt.
Scene 28 Video Sc. 28 Enter the King of Gallia with a still march, Mumford, and soldiers. Gallia Now march our ensigns on the British earth, And we are near approaching to the town; Then look about you, valiant countrymen, And we shall finish this exploit with ease. Th’inhabitants of this mistrustful place Are dead asleep, as men that are secure. Here shall we skirmish but with naked men That know not what our coming doth portend Till they do feel our meaning on their skins. Therefore, assail! God and our right for us! Exeunt.
Scene 29 Video Sc. 29 Alarum, with men and women half-naked Enter two Captains without doublets, with swords 1 Captain Where are these villains—that were set to watch And fire the beacon, if occasion served— That thus have suffered us to be surprised, And never given notice to the town? We are betrayed and quite devoid of hope By any means to fortify ourselves. 2 Captain ’Tis ten to one the peasants are o’ercome With drink and sleep, and so neglect their charge. 1 Captain A whirlwind carry them quick to a whirlpool, That there the slaves may drink their bellies full. 2 Captain This ’tis to have the beacon so near the ale house. Enter the Watchmen drunk, with each a pot. 1 Captain Out on ye, villains! Whither run you now? First Watchman To fire the town and call up the beacon. Second Watchman No, no, sir, to fire the beacon. He drinks. 2 Captain What, with a pot of ale, you drunken rogues? 1 Captain You’ll fire the beacon when the town is lost! I’ll teach you how to tend your office better. Drawd to stab them Enter Mumford Captains run away. Mumford Yield, yield, yield! He kicks down their pots. First Watchman

Reel? No, we do not reel. You may lack a pot of ale ere you die.

 Mumford

But in meanspace, I answer, you want none. Well, there’s no dealing with you, y’are tall men and well weaponed. I would there were no worse than you in the town.

 Exit Mumford. Second Watchman

’A speaks like an honest man. My choler’s passed already. Come, neighbor, let’s go.

 First Watchman

Nay, first let’s see an we can stand.

 Exeunt. Alarum, excursions, Mumford after them, and some half-naked
Scene 30 Video Sc. 30 Enter the King of Gallia, Leir, Mumford, Cordella, Perillus and Soldiers, with the Chief of the town bound, and an English Nobleman Gallia Fear not, my friends, you shall receive no hurt If you’ll subscribe unto your lawful king And quite revoke your fealty from Cambria, And from aspiring Cornwall too, whose wives Have practiced treason ’gainst their father’s life. We come in justice of your wrongèd king, And do intend no harm at all to you, So you submit unto your lawful king. Leir Kind countrymen, it grieves me that perforce I am constrained to use extremities. A Nobleman Long have you here been looked for, good my lord, And wished for by a general consent; And had we known your highness had arrived, We had not made resistance to your grace. And now, my gracious lord, you need not doubt But all the country will yield presently, Which, since your absence, have been greatly taxed For to maintain their overswelling pride. We’ll presently send word to all our friends: When they have notice, they will come apace. Leir Thanks, loving subjects, and thanks, worthy son; Thanks, my kind daughter, thanks to you, my lord, Who willingly adventured half your blood, Without desert, to do me so much good. Mumford

Oh, say not so! I have been much beholding to your grace: I must confess, I have been in some skirmishes, but I was never in the like to this, for where I was wont to meet with armed men, I was now encountered with naked women.

 Cordella We that are feeble and want use of arms Will pray to God to shield you from all harms. Leir The while your hands do manage ceaseless toil, Our hearts shall pray the foes may have the foil. Perillus We’ll fast and pray whilst you for us do fight, That victory may prosecute the right. Gallia Methinks your words do amplify, my friends, And add fresh vigor to my willing limbs. Drum But hark, I hear the adverse drum approach. God and our right, Saint Denis, and Saint George! Enter Cornwall, Cambria, Gonorill, Ragan, and the army. Cornwall Presumptuous King of Gauls, how dar’st thou Presume to enter on our British shore? And, more than that, to take our towns perforce, And draw our subjects’ hearts from their true king? Be sure to buy it at as dear a price As e’er you bought presumption in your lives. Gallia O’erdaring Cornwall, know we came in right And just revengement of the wrongèd king, Whose daughters there, fell vipers as they are, Have sought to murder and deprive of life; But God protected him from all their spite, And we are come in justice of his right. Cambria Nor he nor thou have any interest here But what you win and purchase with the sword. Thy slanders to our noble virtuous queens We’ll in the battle thrust them down thy throat Except, for fear of our revenging hands, Thou fly to sea, as not secure on lands. Mumford

Welshman, I’ll so ferret you ere night for that word that you shall have no mind to crake so well this twelvemonth.

 Gonorill They lie that say we sought our father’s death. Ragan ’Tis merely forgèd for a color’s sake, To set a gloss on your invasion. Methinks an old man ready for to die Should be ashamed to broach so foul a lie. Cordella Fie, shameless sister, so devoid of grace, To call our father liar to his face. Gonorill Peace, puritan, dissembling hypocrite, Which art so good that thou wilt prove stark naught! Anon, whenas I have you in my fingers, I’ll make you wish yourself in purgatory. Perillus Nay, peace, thou monster, shame unto thy sex, Thou fiend in likeness of a human creature! Ragan I never heard a fouler spoken man. Leir Out on thee, viper, scum, filthy parricide, More odious to my sight than is a toad. Knowest thou these letters? She snatches them and tears them. Ragan Think you to outface me with your paltry scrolls? You come to drive my husband from his right, Under the color of a forgèd letter. Leir Whoever heard the like impiety? Perillus You are our debtor of more patience: We were more patient when we stayed for you Within the thicket two long hours and more. Ragan What hours? What thicket? Perillus There, where you sent your servant with your letters, Sealèd with your hand, to send us both to heaven, Where, as I think, you never mean to come. Ragan Alas, you are grown a child again with age, Or else your senses dote for want of sleep. Perillus Indeed, you made us rise betimes, you know, Yet had a care we should sleep where you bade us stay, But never wake more till the latter day. Gonorill Peace, peace, old fellow, thou art sleepy still. Mumford Faith, an if you reason till tomorrow You get no other answer at their hands. ’Tis pity two such good faces Should have so little grace between them. Well, let us see if their husbands, with their hands, Can do as much as they do with their tongues. Cambria Ay, with their swords they’ll make your tongue unsay What they have said, or else they’ll cut them out. Gallia Too’t, gallants, too’t; let’s not stand brawling thus. Exeunt both armies.
Scene 31 Video Sc. 31 Sound alarum, excursions. Mumford must chase Cambria away, then cease. Enter Cornwall Cornwall The day is lost: our friends do all revolt And join against us with the adverse part. There is no means of safety but by flight, And therefore I’ll to Cornwall with my queen. Exit. Enter Cambria Cambria

I think there is a devil in the camp hath haunted me today: he hath so tired me that in a manner I can fight no more.

Enter Mumford ’Zounds, here he comes; I’ll take me to my horse. Exit. Mumford follows him to the door and returns. Mumford Farewell, Welshman, give thee but thy due: Thou hast a light and nimble pair of legs. Thou art more in debt to them than to thy hands, But if I meet thee once again today I’ll cut them off and set them to a better heart. Exit.
Scene 32 Video Sc. 32 Alarums and excursions, then sound victory Enter Leir, Perilus, Gallia, Cordella, and Mumford Gallia Thanks be to God: your foes are overcome, And you again possessed of your right. Leir First to the heavens, next, thanks to you, my son, By whose good means I repossess the same, Which if it please you to accept yourself, With all my heart I will resign to you, For it is yours by right, and none of mine. First, have you raised, at your own charge, a power Of valiant soldiers—this comes all from you— Next have you ventured your own person’s scathe, And lastly, worthy Gallia never stained, My kingly title I by thee have gained. Gallia Thank heavens, not me; my zeal to you is such, Command my utmost, I will never grutch. Cordella He that with all kind love entreats his queen Will not be to her father unkind seen. Leir Ah, my Cordella, now I call to mind The modest answer which I took unkind; But now I see, I am no whit beguiled, Thou loved’st me dearly, and as ought a child. And thou, Perillus, partner once in woe, Thee to requite, the best I can, I’ll do; Yet all I can, ay, were it ne’er so much, Were not sufficient, thy true love is such. Thanks, worthy Mumford, to thee last of all, Not greeted last ’cause thy desert was small, No, thou hast lion-like laid on today, Chasing the Cornwall king and Cambria, Who with my daughters—daughters, did I say?— To save their lives, the fugitives did play. Come son and daughter, who did me advance, Repose with me awhile, and then for France. Sound drums and trumpets Exeunt.