THE
QUEEN’S
EXCHANGE:
A
COMEDY
The Persons in the Play.*n10731
For the benefit of readers (who will need all the help they can get if they are to follow the plot of The Queen's Exchange), this list of dramatis personae has been rearranged into order of appearance; duplicate entries have been amalgamated; a few identities and allegiances have been clarified; and some advance indications of plot developments have been removed.
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BERTHA,*n10732
William Camden's Britannia (1586, English translation 1610) includes a brief tabular account of the etymology and meanings of Saxon names: Bertha's appears, along with Segebert's, among names which share a root word meaning `bright' (p. 139 / sig. M2r). In Anglo-Saxon historiography, Bertha was a Frankish princess, a Christian, married to King Ethelbert of Kent, a pagan: her religion prompted him, late in the sixth century, to tolerate the arrival and evangelical activities of Christian missionaries led by St. Augustine and eventually to become a Christian himself. Wood construes the character as a figure for Queen Henrietta Maria, she likewise being French and differing in religion from her English husband. Brome's Bertha, however, may not derive from either of these relatively well-documented queens but rather (or also) from Sexburga, of whom rather less is on historical record. Early editions of John Foxe’s Acts and Monuments (from 1570 and including the 1632 imprint by Adam Islip, Felix Kingston and Robert Young) printed `A Table describing the seuen kingdoms of the Saxons, raigning here in England’. Serburga's name is the only feminine one on Foxe's list of West Saxon rulers -- a list from which Brome appears to have taken names for other of his dramatis personae as well as for Bertha's father, later named as `Kenwalcus' (see [NOTE n10427]). According to Foxe, Sexburga reigned, lateish in the seventh century, for only a single year.
Queen of West Saxons. |
KELRIC,*n11056
Early editions of John Foxe’s Acts and Monuments (from 1570 and including the 1632 imprint by Adam Islip, Felix Kingston and Robert Young) printed `A Table describing the seuen kingdoms of the Saxons, raigning here in England’. Celric is there listed as king of the West Saxons late in the sixth century: his name (with variant form `Celricus’) closely precedes that of Elkwin.
ELKWIN,*n11057
Early editions of John Foxe’s Acts and Monuments (from 1570 and including the 1632 imprint by Adam Islip, Felix Kingston and Robert Young) printed `A Table describing the seuen kingdoms of the Saxons, raigning here in England’. Elkwin is there listed as king of the West Saxons early in the seventh century: his name (with variant forms `Escwynus’ and `Ascwynus’) closely follows that of Celric.
ELFRID,*n11058
Early editions of John Foxe’s Acts and Monuments (from 1570 and including the 1632 imprint by Adam Islip, Felix Kingston and Robert Young) printed `A Table describing the seuen kingdoms of the Saxons, raigning here in England’. Elfride (variant form `Elfridus’) is listed as the last King of the Mercians before they were taken over by the West Saxons.
three sycophant Lords in Queen Bertha’s Court. |
SEGEBERT,*n10733
Early editions of John Foxe’s Acts and Monuments (from 1570 and including the 1632 imprint by Adam Islip, Felix Kingston and Robert Young) printed `A Table describing the seuen kingdoms of the Saxons, raigning here in England’. Of the nine kings listed for the East Saxons between the mid sixth century and the early eighth century, two are named Segebert and two, Sigebert. The recurrence of the name among royalty is unsurprising: etymologically, Sege or Sige means `victory’ and Bert means `bright’. William Camden's Britannia (1586, English translation 1610) includes a brief tabular account of the etymology and meanings of Saxon names: Sigebert's appears, along with Bertha's, among names which share a root word meaning `bright' (p. 139 / sig. M2r).
a Lord banished by Queen Bertha.*n11068
]Alberto, two banished Lords. The excision of the name of Alberto, and the corresponding emendation of the phrase identifying him and Segebert, are for the sake of surprise: the final scene will reveal the Hermit to be Alberto.
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THEODRIC, King Osric’s Favourite and Ambassador. |
ANTHYNUS and OFFA,*n11059
Early editions of John Foxe’s Acts and Monuments (from 1570 and including the 1632 imprint by Adam Islip, Felix Kingston and Robert Young) printed `A Table describing the seuen kingdoms of the Saxons, raigning here in England’. An Offa is listed as King of the East Saxons for in the late seventh century, after an almost unbroken run of rulers named Sigebert or Segebert: this East Saxon Offa is noted to have abdicated after five years to become `a monk at Rome’. Another is listed as King of the Mercians for 39 years in the middle of the eighth century: this Mercian Offa, having slain his daughter’s saintly fiancé, also finishes up in `Rome, where he made himselfe a monke’.
Segebert’s sons. |
MILDRED,*n11060
An Anglo-Saxon nun, Mildred was daughter of Merwald, King of the Mercians: John Foxe mentions her in his Acts and Monuments, two sentences before he mentions Editha.
Segebert’s daughter.*n11067
] Segeberts daughter, Osriicks Queen. The second identification has been excised for the sake of suspense.
|
OSRIC,*n11061
Early editions of John Foxe’s Acts and Monuments (from 1570 and including the 1632 imprint by Adam Islip, Felix Kingston and Robert Young) printed `A Table describing the seuen kingdoms of the Saxons, raigning here in England’. Osric is there listed as a king of part of Northumbria early in the seventh century. His name appears immediately above that of Eaufrid, then king of the other part of Northumbria, with whom Foxe brackets him in condemnation: `These two are put out of the race of kings, because they reuolted from the Christian faith…’
King of Northumbria. |
THEODWALD, EAUFRID,*n11062
Early editions of John Foxe’s Acts and Monuments (from 1570 and including the 1632 imprint by Adam Islip, Felix Kingston and Robert Young) printed `A Table describing the seuen kingdoms of the Saxons, raigning here in England’. Eaufrid is there listed as a king of part of Northumbria early in the seventh century. His name appears immediately above that of Osric, then king of the other part of Northumbria, with whom Foxe brackets him in condemnation: `These two are put out of the race of kings, because they reuolted from the Christian faith…’
ALFRID,*n11063
ALFRID Early editions of John Foxe’s Acts and Monuments (from 1570 and including the 1632 imprint by Adam Islip, Felix Kingston and Robert Young) printed `A Table describing the seuen kingdoms of the Saxons, raigning here in England’. Alfride (variant form `Alridus’) is there listed as king of Northumbria late in the seventh century.
EDELBERT,*n11064
EDELBERT Early editions of John Foxe’s Acts and Monuments (from 1570 and including the 1632 imprint by Adam Islip, Felix Kingston and Robert Young) printed `A Table describing the seuen kingdoms of the Saxons, raigning here in England’. There are: two Ethelberts (one expulsed, the other slain) near the end of the list of the kings of Northumbria; another Ethelbert, King of the West Saxons but ruling in Northumberland; another Ethelbert, King of the East Anglians and slain by Offa; and, best known, Ethelbert King of Kent and first Saxon king to become Christian. The recurrence of this name among royalty is unsurprising: etymologically, Edel or Ethel (medial `d’ and `th’ being interchangeable in names of Saxon derivation) means `noble’ and Bert means `bright’.
Lords of King Osric’s Council. |
4 CLOWNS.†gg1009
countryfolk
|
JEFFREY, the King’s Fool.*n11065
Wood is surely correct in suggesting that Brome named his Fool with reference to the Caroline court fool Jeffrey Hudson (1619-1682), who was part of Queen Henrietta Maria’s household. Hudson, a dwarf, was born in Rutland. His father, a baker, worked for George Villiers, Duke of Buckingham and owner of a great house at Burley in that rural county. The boy passed from the household of Buckingham’s Duchess to that of the Queen . Hudson appears at her side (and with an ape on his shoulder) in Anthony van Dyck’s 1633 portrait of the Queen, now in the National Gallery of Washington, and within frame (and impossibly small in scale) of Daniel Mytens’ 1630-2 painting of Charles I and Henrietta Maria departing for the chase, in the Royal Collection. (Both are accessibly reproduced in the catalogue of the Royal Academy’s 1999 exhibition Van Dyck 1599-1641, respectively pages [247] and 60.) His own solo portrait, also by Mytens and also in the Royal Collection, is reproduced alongside Hudson’s ODNB entry by Malcolm Smuts. Brome would have been aware of this court Fool, who danced in several court masques and was the subject of a mock-heroic poem by William Davenant (Jeffreidos, written 1630 and printed 1638).
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A CONSTABLE. |
ETHELSWIC, Theodric’s substitute in Osric’s affections. |
A PHYSICIAN. |
3 OUTLAWS. |
A HERMIT and his SERVANT. |
EDITH,*n11066
An Anglo-Saxon nun, Editha was daughter of Edgar, a 10th-century King of England: John Foxe mentions her in his Acts and Monuments, two sentences after he mentions Mildred.
Mildred’s Nurse. |
ARNOLD, an old servant of Offa. |
A CARPENTER, A MASON and A SMITH, three Thieves. |
KEEPER of Prison. |
Scene England.
Prologue*n10264
] Prolouge
to the Queens Exchange.
The writer of this play, who ever†gg68
always
uses
To usher with his modesty the Muses†gg4259
the nine Greek goddesses of the arts who inspired poets, musicians, artists etc.
Unto the stage, he that scarce ever durst†gg219
dared
Of poets rank himself above the worst,
Though most that he has writ has passed†gs1743
surpassed, excelled, exceeded in quality (OED pass v, 1a)
the rest,
And found good approbation†gg3112
approval, satisfaction
of the best,
He, as he never knew to bow, he says,
As little fears the fortune of his plays.
He yields their right to us, and we submit
All that they are in learning or in wit
To your fair censure.†gs1628
formal judgements or opinions of an expert, referee, etc. (OED 2)
All is then but thus:
As you approve, they are good or bad to us;
And all by way of favour we can crave
Is that you not destroy where you may save.
ACT ONE
1.1*n10500
The first act of The Queen’s Exchange consists of two scenes, both of which are devoted to introducing the dramatis personae and establishing plot situations. The first scene brings on BERTHA, Queen of the West Saxons, and her councillors: honest old SEGEBERT and odious toadies CELERIC, ELKWIN and ELFRID. Seeking their ratification of her intention to marry the King of Northumbria, she reminds Segebert that he has previously opposed her matrimonial plan. Segebert reiterates and explains his opposition to the match as endangering crown and country. He also reminds the Queen that her father had instructed her to take Segebert’s advice over all others’ and had instructed Segebert to eschew innovation, which is a likely consequence of exogamy. Queen Bertha’s response to Segebert’s advice is to send him into exile: her flatterers would prefer something(s) stronger – death and/or confiscation of property -- but she evinces concern for Segebert’s children. Having sent off Segebert, she welcomes THEODRIC, silver-tongued ambassador from the King of Northumbria, praises the King’s portrait, fishes for His Majesty’s opinion of her own portrait, agrees to marry the King and announces the matrimonial schedule. The second scene introduces Segebert’s aforementioned children -- elder son ANTHYNUS, younger son OFFA, and daughter MILDRED -- to whom their father bids farewell and gives his parting instructions. The exchanges establish that, much to her father’s disapproval, Mildred has attracted the amorous attentions of Theodric during his ambassadorial visit to the West Saxon court. They also establish that although Segebert favours Offa over Anthynus, the younger son is duplicitous and manipulative, while the elder is so devoted to his father as to insist on accompanying him into exile.
Hautboys†gg3027
"a wooden double-reed wind instrument of high pitch, having a compass of about 2 octaves, forming a treble to the bassoon (now usually oboe)" (OED hautboy, 1)
[sound offstage].
Enter KELRICK, ELKWIN,
[ELFRID],*n10263
He is not included in the 1657 Quarto but required to speak in this scene (addition follows Wood).
SEGEBERT, BERTHA and Attendants.
3BerthaSince it has pleased the highest Power to place me
His substitute in regal sovereignty,
Over this kingdom, by the general vote
Of you, my loyal Lords and loving subjects,
Though grounded on my right of due succession,
Being immediate heir, and only child
Of your late, much deplored king, my father,
I am in a most reverend duty bound
Unto that Power above me, and a well-
Befitting care towards you my faithful people,
To rule and govern so (at least so near
As by all possibility I may)
That I may shun Heaven's anger, and your grief.
Which that I may, at our last consultation,
The better to pass through my weighty charge,
I gave you to consider of the proposition
Is made to me by the Northumbrian king
Of marriage, not only to enable me
In my government, but thereby to strengthen
This kingdom in succeeding times, by a line
Of lawful successors. I gave you all
My strong and most unanswerable reasons,
To which you seemed contented, all but one,
Who with the rest by this I hope is satisfied.
’Tis you, Lord Segebert, you it is I mean.
Does it appear to you yet reasonable,
That I be matched to the Northumbrian king?
I have with patience waited a whole month
For you to rectify your scrupulous judgement,
Whereby it might comply with these, no way
Inferior to your self, but are your peers,
As well in their known wisdom, as my favour.
I here
devote†gg6076
consecrate (OED v. 1)
myself; and thus I meet
With equal love, th’ embraces of these Lords.
I’ll join and grow one body and one voice
With them, in all may add unto your honour,
And your dear kingdom’s good. But pardon me,
My sovereign Queen, and I beseech you, my Lords,
To weigh with your known wisdom the great danger
This match may bring unto the crown and country.
‘Tis true, the King Osric as well in person
As in his dignity, may be thought fit
To be endowed with all you seem to
yield†gs1686
grant, allow, concede (OED yield v, 18c, where this instance is among examples given for usage in this sense between 1571 and 1907)
him;
But what becomes of all the
wholesome†gs1744
beneficial, salutary, mentally or morally healthful (OED 1)
laws,
Customs, and all the nerves of government
Your no less prudent than majestic father
With power and policy enriched this land with
And made the Saxons happy, and yourself
A queen of so great eminence. Must all,
With so much majesty and matchless beauty,
Be now subjected to a stranger’s foot
And trod into disorder? All your wealth,
Your
state,†gs1753
government, court (OED n. 26)
your laws, your subjects, and the hope
Of flourishing future fortunes, which your father
By his continual care and
tedious†gg156
long, tiresome
study
Gave as a legacy unto this kingdom,
Must all be altered, or quite
subverted,†gg6077
overthrown (OED subvert 1), a sense which is now obsolete
And all by a wilful gift unto a stranger?
5BerthaPeace! Stop his mouth! Unreverend old man,
How
durst*n10265
] darst
thou thus oppose thy sovereign’s will,
So well approved by all thy fellow peers,
Of which the
meanest†gg199
most inferior in rank
equals thee in judgement?
6SegebertDo you approve their judgements, Madam, which
Are grounded
on your will:*n10266
] on your will? The punctuation in 1657 Quarto (which Wood retains) obscures the logic of the sentence.
I may not do’t.
Only†gs1745
but, the only thing to be added being (OED conj., 1)
I pray that you may understand
(But not unto your loss) the difference
Betwixt smooth flattery and honest judgements.
Though you
except†gg6078
protest (OED v. 4)
against this king,
He may hereafter thank you in your kind.
9SegebertMeantime I thank you for your prophecy.
10Kelric*n10267
] Col. (Emendation follows Wood, who prefers `Celeric'.)
You cannot but allow succession is
The life of kingdoms; and if so, you cannot
But wish the Queen (which Heaven grant speedily)
An happy†gg1548
fortunate, lucky; also, successful in performing what the circumstances require (OED 5a)
husband.
12ElkwinAnd if an husband, why not him she
affects?†gs1732
likes, prefers
Can it befit a subject to control
The affection of his princess? Heaven forbid!
You might control it: whom in your great wisdom
Would you allot*n10268
Elkwin's choice of verb sustains the sneer in the previous line's prepositional phrase, `in your great wisdom': he uses `allot' in a sense (OED v, 2) which is proper to great authorities, such as God or Fate.
the Queen?
And know, when I have said all that I dare,
What censure I must undergo. And thus
I’ll meet it boldly: you are
sycophants†gg6079
flatterers; deceivers (OED sycophant n, 3 and 4)
all,
And do provide but for yourselves, though all
The kingdom perish for’t. May the justice
That follows flattery overtake you for’t.
16[Bertha]*n10269
] Segebert. 1657 Quarto is obviously confused. Noting that `Bertha intervenes several lines later to hear more of Segebert's complaint', Wood assigns the speech to Elkwin rather than to the queen. She makes that concession, however, only after Segebert has implored it; and it is difficult to imagine these toadies overturning court etiquette to the extent of commanding his removal. (Wood's further suggestion that they might `actually attempt to remove Segebert at this point in the scene' seems even more unlikely.) Moreover, if this command comes from the Queen, then it occasions Kelric's immediately subsequent statement of false sympathy.
Take hence the madman.
17Kelric*n11087
] Colr. (Emendation follows Wood, who prefers `Celeric'.)
[To SEGEBERT] We are sorry for you.
18ElkwinAnd wish the troublesome spirit were out of you,
That so distracts your reason.
Speak and answer to the purpose.
20Segebert [To ELKWIN] Your question to no purpose, sir, was this:
Whom my great wisdom would allot the Queen?
You are not worth my answer. [To BERTHA] But my sovereign,
I do implore your gracious attention
To these few words.
Speak your few words: the Queen can give you hearing.
24Segebert [To BERTHA] I wish Your Highness would command your women,
That know their qualities, to take up your beagles.
Their petulances
sort†gg3135
to answer or correspond to, to befit or suit (OED 8)
not with this place
Nor the more serious matter of my speech.
25BerthaSpeak: I can hear you
through.*n10270
] though.
Forbear†gs1593
leave (him) alone
him, Lords.
26SegebertThe King your father, and my
ne’er*n10271
] ne'r
-to-be-
Forgotten master — please you to remember,
Although his memory be lost with these
Who
ne’er*n10272
] nere
had grace to know him rightly — gave me
Before his death
strictly†gs1746
with insistence on exact performance, execution, or obedience (OED 3a)
this
charge,†gg1561
(n) task, duty, commission (OED n. 12)
and in
Your presence too, charging your self withal
To give it due obedience: that you should
Before all men’s advice take mine for marriage;
And that especially I should take care
’Gainst innovation,
that*n10273
Although it would probably be clear enough when given audible emphases by an actor, the sequence of conjunctions begins to confuse on the page: this one has the sense (OED 3a) of `so that' or `in order that'.
the laws he left
Established with such care for good
o’th’*n10274
] oth'
kingdom
Might be maintained by
whomsoe’er*n10275
] whomsoere
you matched with.
I know, and you, if you knew anything,
Might know the difference ‘twixt the Northumbrian laws
And ours; and sooner will their king
pervert†gs1747
overturn; change for the worse; destroy (OED v. 2)
Your privileges and your government,
Than
reduce†gs1748
adapt (OED v. 11a and b)
his to yours: pure common sense —
Even you, methinks, my Lords — may foretell that.
But for this little more.
30KelricPray hear his little more although you send him
Out of your hearing then for evermore.
That rather than by marriage you should bring
Your subjects to such
thraldom,†gg808
captivity
and that if
No prince whose laws
cohered†gg6080
agreed (OED cohere v, 4b)
with yours did seek you
(As some there are, and nearer than th’ Northumbrian)
That he would have you from some noble
stock†gg1396
race, family, or ancestral type (OED n. 1 and 3d)
To take a subject in your own dominion.
34KelricBut did the King, your
ne’er*n10276
] ne're
-forgotten master,
Bequeath her an affection to such blood?
35BerthaForbear.†gs524
stop (this behaviour), desist
Now he’s not worth your speaking to.
36Kelric [Aside] Now she’ll ha’ me, I hope. What a foul beast
Was I to undervalue subject’s blood?
37BerthaI have
forborne†gs1749
tolerated, put up with (OED forbear v, 2)
you long, for the old love
My father in his life conferred upon you
And still I yield to it so much as saves
Your head, bold-talking fellow. But, sir, hear
Your
doom.†gg2293
sentence
Since the King’s love hath puffed your
dotage†gs208
senility, feeblemindedness caused by old age (OED 1)
With swollen
conceit†gs1750
morbid seizure of the mind (OED n. 11)
(for what can it be less?)
That you are now my King (for sure you think so)
I’ll
try†gs1751
prove, demonstrate (OED v. 13)
my title with you. Hence, you exile!
Go in perpetual banishment from this kingdom.
[To KELRIC, ELKWIN and ELFRID] Speak not a word for him.
39KelricBut may it please Your Majesty, you mentioned
His head
erewhile.†gg3182
a short time ago; recently; but now
Now, if I might advise--
42ElkwinHis lands and goods, Madam, would be thought on.
44ElfridI’ll take his daughter with all faults, and half his lands.
45Bertha [To SEGEBERT] Why are ye not gone?
47BerthaOut with it, then, and then out with yourself!
48SegebertIn the large history of your father’s life
You find but one example for this
doom†gg2293
sentence
Of banishment, and that was of
Alberto*n10734
The Italianate name `Alberto' is out-of-place in a play which purports to be set in Anglo-Saxon England, and perhaps the final vowel should be removed. The name `Albert', by contrast, is well-suited to the setting: William Camden's Britannia (1586, English translation 1610) includes a brief tabular account of the etymology and meanings of Saxon names: Albert appears here, along with Elfrid, among names which share a root word (Ael, Eal, Al) meaning `all' or `wholly' (p. 139 / sig. M2r).
five years since,
For wronging me unto His Highness, when
He stood in competition with me for
The
honour†gs1752
exalted rank or position (OED n. 4a)
in the
state†gs1753
government, court (OED n. 26)
the King then gave me.
50SegebertBut thus: I stood by then, and then all-knowing Heaven
Saw that though he for wronging me was banished,
I was right sorry, and much pleaded for him.
51BerthaIt follows now that you would have these lords,
Whom you have so
abused,†gs1754
maligned, reviled (OED abuse v, 7)
to plead for you.
52SegebertQuite contrary, for they are my abusers.
Yet I do grieve for them, but more for you,
To think on all your sorrows, when too late
You’ll wish for me to steer the
state.†gs1753
government, court (OED n. 26)
53BerthaPray, if you meet that good old lord Alberto
Now in your exile, send him home to us:
I’ll promise him your honour in the
state.†gs1753
government, court (OED n. 26)
55BerthaGo from my sight, and if after three days
Thou art seen in my dominion, I will give
A thousand crowns*n10277
A crown was a coin (initially gold, later silver) worth five shillings, so a thousand crowns would equal £250. According to the National Archives currency converter on 2 August 2009, £250 in 1630 would be the equivalent in spending power of £22,290.
to him that brings thy head.
See proclamation sent to that effect.
56KelricI will, and as many informers after
The proclamation, as there be crowns in’t.
[To SEGEBERT] Come, we have spoken for you all that we can.
58BerthaBe gone, I say! Why dost thou stay?
59SegebertBut†gg5728
only
to applaud your mercy and bounty,
In that you
post†gs1755
dispatch, send in a hurry (OED post v2, 3a)
me from a world of care
And give me the wide world for my shareSEG[EBERT] and KELR[IC] exit.
60ElkwinYour Majesty has
performed†gg6081
brought about, produced (OED perform, 3)
a point of justice,
Mingled with
clemency,†gg697
mercy, leniency
beyond all
precedent.*n10278
] president
61BerthaEnough to give a warning to all such
As dare oppose their princes’ purposes.
Conduct in now th’ ambassador of Northumbria.
ELKW[IN] and ELF[RID] exit.*n11084
1657 Quarto places this stage direction a line earlier.
Whilst I
[studying portrait of Osric]*n11086
The source from which the portrait is produced will depend on its size: in workshop on 28 June 2007, the portrait was understood to be a miniature which Bertha could carry about her person and gracefully kiss.
review his master’s brighter
figure†gg1756
owed
As ardently (but with more pure affection)
As
e’er*n10280
] ere
did
Cynthia her Endymion.*n10279
In Greek classical mythology, the goddess of the moon (whose various names include Cynthia) fell in love with a beautiful youth, Endymion, when she saw him asleep on a mountainside.
Ent[er THEODRIC with ELKWIN and ELFRID]n10281
]Ent.Emb. Having given Elkwin and Elfrid an exit after [QE 1.1.line330], the line with which Bertha sends them off to bring in Theodric, the Northumbrian ambassador, 1657 Quarto neglects to provide for the courtiers' re-entry. They will, however, be required to speak again -- half a dozen lines after Theodric's entrance and in response to his first and second speeches in the scene. Since Bertha sent them off to escort Ambassador Theodric into her presence, it seems reasonable for them to re-enter with him. That editorial decision has consequences for the timing of their exit in search of him: in order to maximise the time available for Elkwin and Elfrid to accomplish their errand, this edition sends them off as soon as the command is spoken. This in turn has consequences for Bertha's delivery of the fourth through sixth lines of the speech: she talks to herself while contemplating the portrait of the Northumbrian king whom she plans to marry. See clip .
[To Theodric] My Lord, you have attended long, but now
I shall return that answer to your King
That, if his love be as you have pretended,
May well excuse your stay. Tell him this story,
A king sent forth a general to besiege
A never-conquered city. The siege was long,
And no report came back unto the king,
How well or ill his expedition thrived,
Until his doubtful thoughts had given lost,
His hope o’th’ city and his army both.
When he being full of this despair, arrived
O’th’ sudden his brave general with victory,
Which made his thanks, as was his conquest, double.
You may interpret me, my Lord.
I am to tell the King he has won your love.
63BerthaA blush may be excused in the confession.
’Tis my first answer to the question: yes.
64TheodricSo from the doubtful darkness of the night,
The blushing morn ushers the cheerful sun
To give new light and life unto the world.
I shall revive my king with these glad tidings.
65BerthaYou have said well: let us inform you better.*n10282
In 1657 Quarto, this is set as two verse lines (divided after `well'), but it is tolerable as a single line of blank verse. (Relineation follows Wood.)
[BERTHA takes THEODRIC to one side and confers privately with him]*n10283
] (Talk aside with him). Wood: Bertha takes Theodric aside to talk with him.
66ElkwinI can but think what old Segebert said
Concerning laws, customs, and privileges,
And how this match will change the government.
I fear, howe’er the laws may go, our customs will
Be lost, for he, methinks, out-flatters us already.
67ElfridHe’s the King’s
favourite,†gg6082
one who stands unduly high in the favour of a prince (OED n. 2)
and has wooed so well
For him, that we may fear he’ll wriggle in
‘Twixt him and us, the prime man in her favour.
I’ll be prepared to entertain His Highness,
First to confirm a contract, then as soon
As he shall please, to consummate our marriage.
In the mean time this
figure,†gs1756
visual image, likeness or representation
which you say
Resembles him, as painter’s skill affords —
Indeed, it is a sweet one! (Kisses it) — shall be daily
My dear companion most unseparably;
And when I sleep, it shall partake my pillow.
Does he love mine as well d’ye think, my Lord?
69TheodricJust with the same devotion. If I
durst,†gg219
dared
I would say more.
70BerthaNay, speak, my Lord, pray speak!
71TheodricHe
does*n10284
] do's
allow’t a table, waiters and
officers†gg6083
persons who hold a particular office or post (OED officer n, 1)
That eat the meat.
74Elfrid [Aside] Nay, we shall ne’er*n10276
] ne're
come near him!
He lodges it perpetually on his bosom.
77TheodricHere, just here — [THEODRIC] shrugs.n10287
To shrug is `to raise (and contract) the shoulders, esp. as an expression of disdain, indifference, disclaiming responsibility, etc.; in early use also, to cringe' (OED v, 2). For different varieties of Caroline courtly shrugging, see the extended quotation from William Hawkins's Apollo Shroving (1626) in Michael Leslie's note [NOTE n4872]. Workshop session on 28 June 2007 included some discussion of what sort of shrug was required . Then, on the first run-through, when actor Robert Lister as Theodric shrugged, Hannah Watkins as Bertha spontaneously mirrored his gesture .
And’t please Your Majesty — o’ the heart’s side.
78BerthaIndeed I am pleased! I’ll
stay†gs1104
delay
you but tonight:
Tomorrow you shall hasten towards the King,
And for your speed wear this.n10288
The reference of the pronoun `this' is unclear, nor is there any other indication of what Bertha gives Theodric to wear and thereby speed his journey. Of the various possibilities which were suggested at workshop session on 28 June 2007, a ring appeared likeliest. Whatever the object is, it makes its brief appearance at the end of the scene and is never mentioned again. However, Theodric may still be wearing it when the audience next see him in the next scene but one.
79TheodricMost gracious queen.[THEODORIC] kisses her hand.
[THEODRIC, BERTHA, KELRIC, ELKWIN, ELFRID,and Attendants exit.]*n10286
] Exeunt omnes.
1.2*n10290
] SCEN. II.
Enter SEGEBERT,
ANTHYNUS,*n10289
] Apthynus (Emendation follows Wood.)
OFFA [and] MILDRED.
80Segebert’Tis the Queen’s pleasure, children: I must bear it.
81OffaTo banishment, good heaven
forbid!*n10291
Quarto of 1657 situates the line break between the two syllables of this word.
And Heaven I hope will not yet suffer it.
82SegebertWhilst we expect the best from Heaven’s high will,
It suffers princes to reward us ill.
Yet can I think it shakes an angry hand
Over my head for some misdeed of mine,
Which I have unrepented let go by.
It must be something sure was pleasure to me.
What in the world has most delighted me?
To love my king and country, neighbours, friends,
And sometimes enemies. (I’ll pass
o’er*n10292
] o're
that.)
I have done well (though I do not to boast it)
To succour and relieve all kind of wretches,
Poor souls that have half deafened me with prayers,
Loud prayers. They’ll miss me now, and I
Shall have amiss†gs1760
an evil deed (OED 2c)
of them*n10297
] They'l misse me...and I / Shall have a misse of them too. The compositor appears to have missed the pun.
too. (Let that pass.)
What have I done at home, since my wife died?
No turtle ever kept a widowhood
More strict*n10293
Turtledoves (genus Turtur) pair for life, so the turtle is `often mentioned as a type of conjugal affection and constancy' (OED turtle n1, 1a).
than I have done. Then, for my children:
Offa, come you hither.
84Anthynus [Aside] He might have called me first: I am the eldest.
85SegebertI am sure thou’lt answer in behalf of one.
Have I not loved thee always?
I am all unworthy to acknowledge half,
Half of your
pious†gs1757
faithful to family duties and obligations (OED 2)
bounties on a son,
A wretch so ill deserving as myself.
Your hand has evermore been open to me,
Your blessings still more readily have showered
Upon my head than I had grace to ask them.
[Aside]*n10294
Quarto of 1657 marks the final sentence of this speech [QE 1.2.speech86] as an aside by putting it in parentheses: see [QE 1.2.line475].
For to my knowledge I
ne’er*n10276
] ne're
asked blessing yet
With a good will in all my life: some would
Do penance in the church with less
perplexity.†gs1758
puzzlement, bewilderment (OED 1a)
[To MILDRED] Next, you, my daughter.
I have not long to stay with ye: my three days
Will scarce afford this hour to bide with you.
92MildredHad I no tears nor sobs to interrupt
My flattering tongue, but had speech as free
As the best orator that speaks for fee
Could, or durst I attempt t’express your goodness
More than to say, ’tis more than I can say —
93Segebert’Tis a good maid!
[Aside] O Queen, thou art too cruel!
94MildredBut honour’d father, grant me yet one
boon.*n11088
] bone (Wood retains the obsolete spelling.)
96MildredYou shall know presently.†gg103
immediately (OED adv. 3); without delay
[MILDRED] dries her eyes.
Pray give me leave to kneel unto the Queen
To try what I can do for your repeal.
’Twere shame we should sit down and lose you thus.
The Queen
affects†gs1732
likes, prefers
me well. You know she loves me
And promised once she would deny me nothing.
97SegebertFor this thou shalt not trouble her. Besides,
You put me well in mind to
charge†gs130
command
you, daughter,
Upon my blessing, go no more to Court.
Shun it, I charge thee, as thou wouldst my curse.
If you have lovers there whom they call servants,
Do as
neat†gg6087
habitually clean and tidy; fastidious (OED adj. 4a)
surgeons do when they have touched
Loathsome or pestilent sores: wash clean your hands
Of all of ’em, that are far more infectious.
And hear me, daughter Mildred: I am told
The Northumbrian ambassador now at Court,
The great King’s greater
favourite,†gg6082
one who stands unduly high in the favour of a prince (OED n. 2)
made hot love to you.
And that he obtained your picture, which he wears
More proud of’t than his undeserved honours.
Let me now charge you further, and observe it:
Shake off all thoughts of him. Upon the match now
He and whole
shoals*n10300
] Sholes (Emendation follows Wood)
†gg6088
troops, crowds (OED shoal n2, 3a)
of upstart
braveries,†gg5980
gallants (OED `bravery' 5)
Must hither needs attend their King. But if
Thou marry with him, or any amongst them,
Though the greatest subject that his master has,
Thou art divorced forever of my blessing.
99OffaI shall look to that, sir.
Of all my children but you to resolve me:
How you have found my love?
Sir, I presume, ’cause you have had me longest,
To crown their testimony.
Anthynus, by your leave, the least to know me,
But like a stranger look upon me when
These give me due respect.
I dare not give you, and more were to abuse you.
Though I do not applaud, I must
approve†gs1759
confirm or corroborate (that)
You are a right good father.
108Offa [To SEGEBERT]*n11089
Wood marks this line as an aside: the pronominal reference of `you' is ambiguous, so it is not clear whose wisdom Offa purports to praise. However, the appears to sustain the flattery which he addresses to his father throughout the scene.
No, no, it sounds not well. But you are wise.
Where flattery is too frequent, the great scorn
You have ever cast upon it, and do fear
To come within such danger of reproof,
Knowing your reason may as well detest it
In your own house, as in kings’ palaces.
And when I hear another (my dear sister,
Heaven
knows*n10298
] know
I mean not you!)
Speak like a flatterer, I hold my peace,
And so come short of doing what I would,
For fear of overdoing. But, honoured sir,
When a son can be found that dares do more
For’s father’s life or honour than myself,
I’ll forfeit mine inheritance and your blessing.
So much your love
engages†gg6084
obliges (OED engage v, 7b)
me.
110Offa [To SEGEBERT] If this were hearty now, not hollow.
Time calls away apace, and I am satisfied,
Since I must undergo the Queen’s hard
censure,†gg362
judgement (especially, though not always, adverse judgment)
That it falls not upon me like a curse,
For wronging crown or country, neighbours, friends,
Or you my dearer children. I will take it
Not as a punishment, but blessing rather,
To be removed from miseries
Are like to fall on this unhappy kingdom.
And I will think the Queen has done me favour
To ease me of my cares a thousand ways,
To make my rest of life all
holidays.†gg6085
days of festivity, recreation, amusement (OED holiday 2)
Now take my last directions. Son Anthynus.
112Anthynus [Aside] "Son"! It is
holiday*n9636
] holyday
with me too. ’Tis
The first time he called me "Son" these three years.
And must be lord at my decease of all
My large possessions, yet it is my will
That till my death my Offa have the
sway†gg6090
power of rule or command (OED n. 6a)
And government of all, allowing you
That yearly
stipend†gg6086
allowance
formerly I gave you.
Let me not hear of any grudge betwixt you.
And be you both
respectful†gg6089
mindful (OED 1)
of your sister,
And you of them, good girl. It is decreed
That I shall never see you more.
Go in, I say, thy brothers shall a little
Shew me my way. Go in, I shall not speak else,
And I have more to say to them. Good, now go!
116Mildred [Sobbing] O, O, O.
[MILDRED starts to exit but returns.]n10302
] (go and come again) In 1657 Quarto these words are printed as part of Segebert's speech ([QE 1.2.speech117]): see [QE 1.2.line647]. The quarto italicises most stage directions and surrounds some with parentheses as well. It also sets most quotations noticeably apart from the dialogue, on a separate line and/or to the right. Although the 1657 quarto puts these four words in parentheses, it neither italicises them nor separates them from the dialogue: Segebert's blessing ([QE 1.2.speech117]) has no terminal punctuation mark. The compositor apparently construed the words as part of that speech rather than as a stage direction. The workshop session on 28 June 2007 experimented with performing this section of the scene both as it is presented in 1657 Quarto, with the four words being spoken by Segebert , and also as it is presented in this edition, with the four words left unspoken as dialogue but performed as a stage direction for Mildred . The original version proved rather more plausible, and far more powerful, in the enactment than had been anticipated, so the experiment did not confirm editorial hypothesis as clearly as had been hoped. However, if those four words are spoken by Segebert, then (1) his speech here abandons the relative regularity of meter which has marked his every utterance in the play so far, and (2) his distress becomes dithering. On editorial balance, then, it has seemed preferable to construe the words as a stage direction. (Wood made the same decision -- `Mildred goes and comes again.’ -- but does not explain it.) Against that it should be noted that on the last workshop run-through, when this textual decision was tacitly left to the actors, Robert Lister as Segebert spoke the words as dialogue .
117SegebertYou will not disobey me? Heaven bless my girl!
119SegebertYes, child, in heaven, and then for evermore.
120MildredTo wait your coming thither I’ll afore.*n11091
Wood construes this line as Mildred's undertaking to kill herself. However, Mildred has been presented as a most dutiful daughter: it would be more appropriate for her to be stating an expectation that she will die of grief.
Moreover, Segebert does not respond to the line as if it were a suicide threat: he merely indicates that he expects to die first.
Exit [MILDRED].
121SegebertThither shall be my first journey, but after.†gs1869
at a later time (OED adv. 2)
*n11090
]Thither shall be my first journey./ But after you shall (Relineation follows Wood, but this edition changes the punctuation which he retains from 1657 Quarto. Resituation of the full stop improves both syntax and dramatic sense. The first sentence, which picks up Mildred's exit line, could be addressed to her departing figure, or it could be spoken as an aside. The second must be addressed to Offa and Anthynus, who are still onstage.)
[To OFFA and ANTHYNUS] You shall
still†gg410
always; continually; ever; on every occasion
hear from me
where’er*n10301
] where e're
I wander.
And humbly pray I may not be denied
To wait on you in exile. Take me with you.
125Offa [To SEGEBERT] Do you not find†gs1870
see through, perceive the truth about
him?
126SegebertThis is but your stoutness†gg6091
haughtiness, arrogance (OED 1)
(Though you seem humble unto me) against
Your brother, because I leave the rule to him.
127AnthynusFar be it from my thoughts, dear sir! Consider
He has had that rule already divers years
E’er*n10285
] Ere
since my mother
died,*n10303
] die (emendation follows Wood)
and been your darling,
Heaven knows without my grudge, while you were pleased.
128Offa [To SEGEBERT] Heaven knows his thoughts the while, alack a day!
You have severely
overlooked†gs1687
despised, slighted (OED v. 2); scrutinised, examined (OED v. 3)
my actions,
When you have smiled on his, though but the same.
I have been still content while I have found my duty firm.
134OffaDoes not your blood begin to chill within you?
Great heirs are overhasty, sir,
And think their fathers live too long. Pray, sir
Take heed of him. Though he should act the
Parricide abroad, our laws acquit him.
135SegebertI’ll give myself to Heaven: quit thou thy fear.
I am not worth a life. I’ll take him hence
That thou mayst be secure from bloody spite.
I fear him not. Mischief has spent herself
And left her sting within me for a charm*n10306
The image personifies mischief as a female insect, exhausted by stinging Segebert and thereby leaving the sting in his flesh.
That
quits*n10305
] quit
me from the fear of further harm.
Go get thee home: my blessing and farewell!
136OffaPray, sir, excuse me, I cannot speak
(Aside)*n10304
] (aside) In 1657 Quarto this stage direction is placed well to the right of the words which it governs.
for laughing.
137SegebertAnd farewell, country! Shed not a tear for me.
I go to be dissolved in tears for thee.[SEGEBERT, ANTHYNUS and OFFA exit.]
Edited by Marion O'Connor