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m cannon or THE ROLE or ELIZABETH
IN WEIL ANDERSON'S ELIZABETH THE QUEEN
AND AN ANALYSIS or THE ACTING PROBLEMS INVOLVED

By
.Harian Agnea Alexanian

A THESIS
Buhlitted to the School of Graduate Studio: of Michigan
State College of Agriculture and Applied Science
in partial fulfillment of the requirement:
rer the degree or
MASTER OF ARTS

Department of Speech, Dramatice,

and Eadie Education

July 1950

c:

$HFS'

1.! l4 34.5.13

[hi

.—
VII

\.

‘Aeknowledgement is hereby made to Mr. D.O. Buell.
Mr. 8.C. Chenoveth, and.Hiss Lucia Morgan for their
assistance and supervision in the completion of this
thesis; to Mr. 3.1. Andreasen, Mr. R.W. Duckwall, Jr.,
Er. 0.3. Nickle, Mr. H.F. Niven, Jr., and Miss Bodil
Gonkel for their technical supervision of Elizabeth
1;; Queen; and to all those persons, both faculty and

students, who so kindly gave their time and effort to
the production of the play.

2,3737/

To my paronto--vhoso undorstanding help and
constant oneouragonont have made the undertaking

and the completion of this proJect possible. I
heroby lovingly dedicate this thesis to my Father

“d “CthOro

TABLE OF CONTENTS

CHAPTER PAGE
I. AN HISTORICAL BACKGROUND OF THE PERIOD

OF ELIZABETH TUDOR'S LIFE . . . . . . . . . . o 1
II. A CHARACTER ANALYSIS OF ELIZABETH TUDOR . . . o 35
III. THE ROLE OF ELIZABETH AS CREATED BY

MAXWELL ANDERSON AND THE ACTING SCRIPT OF

THE MICHIGAN STATE COLLEGE PRODUCTION OF

ELIZABETH THE QUEEN . . . o o . . . . . . . . . 64

IV. THE ACTING PROBLEMS INVOLVED IN CREATING
THE ROLE OF ELIZABETH . . . e o . . . . . . . . 216

BIBLIOGRAPHYCooocooooeooooeeoeoo230

LIST OF ILLUSTRATIONS

FIGURE PAGE

1. Act I, scene 1. 'He is going to the Queen,
remember. And we have an appointment. . . . . . 98

2. .Aot I, scene 2. IYou believe you'd rule
England better because you're a man.” . . . . . 115

3. Act I, scene 2. 'Now what can come between
us, out of heaven or hell, or Spain or
England'.oeooeoooeoooooeeoooollg

4. IAct I, scene 3. 'I speak for the good of
th. .tat.. I O C O O O O O O O O O O O O O O O O 126

5. Act II, scene 1. 'If my Lord Essex is as I
have believed him, he will not hurt as.“ . . . . 142

6. Act II, scene a. “You come with a file of
soldiers at your back, my Lord of Essex.” . . . 180

7. Act III. I'I tell thee what, Ha1-if I tell
thee a lie, spit in my face.I . . . . . . . . . 204

If

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CHAPTER I

AN HISTORICAL BACKGROUND OF THE
PERIOD OF ELIZABETH TUDOR'S LIFE
In order to analyze the character of England's

Queen Elizabeth as it is reflected in history, a study
of the historical background of the period during which
she lived is necessary. Therefore, the purpose of this
chapter is to gain a better understanding of the maJor
political and religious problems of England and the
Continent during the sixteenth century.

The history of Europe during the sixteenth century
was closely allied with the period of the Reformation.
EIlgland, Spain, France, Germany, and the Netherlands
figure prominently in all of the political and religious
Palicies of the period. No country or personality can
‘30 adequately studied except in relationship to the
other. Politics and religion became entangled and neither
could be conducted without the other. Thus two parties

cloveloped-mthe Catholics and the Protestants. Nearly
‘11 of Northern Europe revolted against Papal authority
md Denmark, Norway, and Sweden followed soon after.
Germany, Switzerland, France, Scotland, and the Nether-
lands were divided, but Protestantism was fostered eagerly
and quickly in all of these countries. Only in France
did Catholicism remain the dominant religion.

With these religious changes, came advancement
in nearly every other field. Economic conditions were
improved; the intellectual renaissance encouraged an

interest in education and literature; scientific inves—
tigations flourished; exploration increased the number
ef trading companies; settlements were founded in the
new world; and politics was finally divorced from
religion.

The struggle between Catholicism and Protestantism
eventually settled around Spain and England, the two
dominant power'e. Charles V of Spain staunchly stood by
1iome and Papal authority. England, however, took steps
1'5Otvarcl. the Protestant Reformation. Henry VIII of England
had. his marriage to Catherine of Aragon dissolved through
divorce. This action placed Henry as the supreme head
01‘ the English church, affecting the beginning of England's

break with Rome. Catherine was Spanish and represented
catholiciem. Neither the Pope or Charles V of Spain
Wanted to lose this tie between England and Papal
authority, and so they threatened Henry with excommunica—
tion from the Church of Home. Henry VIII was determined
to divorce Catherine even if it meant breaking away
from the Catholic faith. Therefore, Catherine's marriage
Vac dissolved on the grounds that she had been the wife
91‘ Henry's brother and, although she had borne Henry a

daughter, she had since been unable to produce a male
heir for the throne of England. The people of England
quietly accepted Henry's direct break with Home on the
pretense that a male heir could be produced from a new
union.
Henry then married Anne Boleyn.1 On September 7,

1533, a daughter was born to Anne Boleyn and King

Henry VIII. The birth of Elizabeth Tudor was a hindrance
rather than a help. Both parents had anxiously antici-
pated the birth of a son. England wanted a Prince to
lucceed Henry, but Anne only bore the child Elizabeth
and two stillborn sons.

Catherine of Aragon died on January 9, 1536.

Within four months after Catherine's death, Anne Boleyn
Van found guilty of adultery and incest and was executed
at the Tower on May 19, 1536. Her marriage to Henry was
declared invalid from the beginning and Elizabeth, who
V‘s two years and eight months old, was pronounced
illegitimate by Act of Parliament.2 Elizabeth now
°°oupied the same position as Catherine's daughter Mary.

\

l Randell Creighton Queen Elizabeth (London:
Long-ans, Green and Company, 19 o), p. l.

2 John Ernest Neale, Qggen Eligabeth (New York:
Harcourt, Brace and Company, 1934), pp. 7-9.

Henry, therefore, had three illegitimate children-«Mary,
Elizabeth, and the Duke of Richmond who died soon after.
The day after Anne's execution Henry married Jane Seymour.

In October 1537 she bore Henry a son, Prince Edward, and

within a few weeks she died. Henry, in turn, married

Anne of Cloves, Katharine Howard, and Catherine Parr.
Henry VIII died on January 28, 1547 and his young
son, Edward VI, succeeded him to the throne from 1547
to 1553. Edward and Thomas Seymour, brothers of Jane
Seymour, were favored uncles of the new King. Edward
Seymour, Lord Somerset, was awarded the office of Lord
Protector to Edward VI, and Thomas Seymour was created
Lord Admiral. Shortly after Henry's death Thomas Seymour,
~.having been refused the hand of the Princess Elizabeth,

married Henry's sixth wife, Catherine Parr, with whom

Elizabeth was living. Catherine, in 1548, sent Elizabeth

Quay from the Seymour household because of the suspected

romantic relationship between Elizabeth and '1'homao.‘5
The following August Catherine Parr died in child-

boo. Thomas Seymour 1an an plans to marry the Princess
EElisabeth, annex her lands to his, and marry the young
K111g Edward to Lady Jane Grey. On January 17, 1549,

\

 

3 Edward Spencer Beesly, Queen W (New York:
l‘Ioiclnlillan and Company, 1892), p. 2.

Thomas Seymour was arrested and sent to the Tower.
Elizabeth was confined to her house, but she was
finally absolved of any connection with Seymour.

Practically there is no doubt of his treason,
and had he then been fairly brought to trial,
Somerset would have been free from reproach. But
the question was debated in parliament whether the
Admiral should be so tried, or attainted, and
attainder was decided on after he had refused to
answer to the Council; as he was entitled to do.

He was allowed to plead before a committee of both
Houses in his own defence, but did not take advan-
tage of the permission: virtually he was denied
the right of an cpen trial, and was condemned
without such defence as he had to make being heard.
Cranmer signed the death-sentence: Latimer defend-
ed it. The fact is significant of the chaos into
which English ideas of Justice and fairplay had
fallen. The Protzctor's brother was executed at
the end of Harch.

Six months later the Council turned against
Somerset too. In September 1549 he was sent to the
Tower. He spent three months there while the Council
deposed him from the Protectorate. Somerset was then
released and his political activities came to an end.
Ell‘he Duke of lorthumberland rose to power in Somerset's
IDJLace and three years later he rid himself of the former
Lord Protector. Then, in January 1352, Somerset was
executed at the Tower.

Horthumberland planned to change the course of

Succession to the English throne by marrying one of his

\

4 Arthur D Innes England Und m ngggg
(new York: G.P. Putnam's Sons, 1931 , p. 198.

:55}.

sons, Guildford Dudley, to Lady Jane Grey. The dying
Edward VI agreed with Northumberland's plans and a will

was drawn up declaring that Lady Jane Grey and Dudley

should succeed Edward. Thus Mary and Elizabeth were put

out of the succession. The Council strongly objected to

the policy though they finally signed the Letters on
June 21, 1555.5 Edward died on July 6th. Both Elizabeth
and her older half-sister, Mary, were victims of North-
umberland‘s attempt to place the young couple on the
throne. On July 10th Lady Jane Grey was proclaimed
QUeen in London, but the rest of the plans completely

miscarried. England defended Mary's cause instead and

stopped Northumberland's rebellion. Elizabeth rode to

Jain Mary and they entered London on August 3, 1553.
England was faced with the situation from which

Henry VIII strove to save her--a woman ruler. Hary's

coronation took place on October 1, 1553. Of all the

traitors .in the Northumberland plot, only Northumberland

and two of his companions were executed. Lady Jane Grey

and her husband were merely detained in ward and many

Others were allowed to go free.
Shortly after llary was crowned Parliament repealed

all the laws of Edward's reign concerning religion and

 

‘ 5 George Hacaulay Trevelyan, Hiltory of M
(low York: Longmans, Green and Company, 19257, p. 317.

returned to the fold of the Catholic church. To further
the Catholic cause in England, and because of her Spanish
blood, Hary arranged a marriage for herself with Philip

of Spain. The Protestants lost no time in acting. Early
in 1554 rebellions against Mary broke out in various parts
of England. The most notable was Sir Thomas Wyatt's in
January 1554. His plan was to have Edward Courtenay,

Earl of Devon, marry Princess Elizabeth and then to place
the couple on the throne.

How much Elizabeth knew about the plot or to what
extent she participated in it is uncertain.6 When news
or the rebellion reached Mary, she immediately ordered
Elizabeth to come from Hatfield to London. Elizabeth
I'ijllcd that she was too 111 to move. In the meantime,
”watt advanced towards London. When he reached the
C’apital, however, his forces had dwindled and he was
easily captured. Wyatt was beheaded and many of his
«followers were hanged. Lady Jane Grey, her father, and
Guildford Dudley, her husband, were executed so that
they could not be the center of any future plots, and

EElizabeth and Courtenay were placed in the Tower.7

‘

6 MC: PO 3190
7 Heals, m. 91.1., p. 37.

8

Ne proof could be manufactured to condemn Elizabeth.

It was finally recognized that she could not be put to
death. After Wo months in the Tower, she was taken by
barge to Richmond and then to Woodstock with Sir Henry
Bedingfield, a member of the Privy Council, as custodian.

In July 1554, Mary Tudor married Philip of Spain.

At the end of the year England's reconciliation with Home
was complete. All the anti-Roman legislation since 1529
was repealed, and the former authority of the bishops and
of the canon law was restored. Philip, meanwhile, bore
the title of King of England, but Parliament would not
allow his Coronation.

After the collapse of Wyatt's rebellion Mary
Jl'emorted to heresy trials and to the burning of heretics,
the most notable being Archbishop Cranmer who had played
‘ prominent part in Anne Boleyn's marriage and execution.
Iear by year people not death at the stake. These perse-
cutions only turned England more strongly than ever
aSonnet Hary, Philip, and the church of Rome.

Philip left England in August 1555 and returned
to Spain. He then became King of Spain after the
deication of Charles V the following January. Before
the year was finished Spain and France were at war, and
1n 1557 Philip brought England into it. On January 6,
1558 England lost Calais, the last bit of her territory

in France.
All of Mary's policies seemed doomed to failure.

The return to Catholicism had bred unrest among the

Protestants. The persecutions and the heresy trials had

encouraged hatred toward Mary and her Spanish husband.
The less of Calais had been a bitter blow to England.
The strict taxation measures were hard on the people.
In addition, the harvests had been extremely poor and
bad epidemics were running throughout the entire country.
These were the results of Mary's five year reign. Eleven
days before her death, due to the urgings of Philip and
her Council, Mary was forced to recognize Elizabeth as
her successor.8 Mary died on November 1'7, 1556.

Elizabeth's Coronation took place on January 15,
1559. Five days later Sir William Cecil, later known
as Lord Burghley, was appointed as her Principal Secretary.
Besides Cecil, Elizabeth appointed to her Council Sir
Nicholas Bacon, uncle of the great philosopher Sir Francis
3noon, and Bir Francis Walsingham, who was mainly respon-
fiible for England's first secret service.

Elizabeth's Council immediately faced serious

(vacations in regard to policy and foremost was the problem

01 religion. Philip of Spain's prime objective was to

k

S Ihid” p. 51.

lO
keep England in the power of the church of Rome. But ‘
Elizabeth preferred a Protestant policy for England.
The chief members of her Council were all Protestants,
the Catholic members being displaced from the Council.
Elizabeth herself never made any formal religious state-
ment of her own throughout her reign, but the Protestant
influences that surrounded her were too powerful to
overlook. Consequently, an anti—Roman policy was adopted.
Sir Nicholas Bacon was Elizabeth's spokesman at
her first Parliament in 1559 when the religious policy
of the new reign was established. The results were seen
in the Acts of Supremacy and Uniformity. The Act of
lupremaey severed English allegiance to the Papacy,
recognized Elizabeth as the Supreme Governor of the church
of England, and required all church and government officials
to take an oath of allegiance to the new church head. The
Act of Uniformity decreed that all church services should
be held according to the Second Prayer Book of Edward VI.9
l(tony Protestants replaced the bishops of Mary's reign,
most notable being Matthew Parker, who became the Arch-
bishop of Canterbury. The Pope in Rome denounced the

\ .

9 H B. Wernham and J.C. Walker, En 1 d Under
E1i be (New York: Longmans, Green and ompany, 1932),
pp. 164. 67.

‘7'

11
new Prayer Book and forbade Catholics to attend the
English services. All of the religious legislation
during Mary's reign was wiped out by the middle of 1559.

The financial condition of England was an equally

important problem to be faced. A rehabilitation of
finances and of England's credit was necessary.

The presence of a new tone in the Government was
immediately felt in mercantile circles, and the
negotiation of necessary loans became a reasonable
business transaction instead of an affair of usurious
bargaining, both in England and on the Continent.
Finally, before Elizabeth had been two years on the
throne, measures were promulgated for calling in the
whole of the debased coinage which had been issued
during the last fifteen years, and putting in cir-
culation a new and honest currency. It seems to
have been owing to a miscalculation, not a sharp
practice, that the Government did in fact make a
small profit out of this transaction.

England was also vitally concerned about the marriage

01' their monarch. Henry VIII married six times and pro-
dneed but one male heir. Edward VI died before he could
Incurry. Hary wed a Spanish Prince and died childless.
The English people wanted to secure the succession to the
throne with an heir, but they also set strict limitations
‘3 to its father. Elizabeth was by far the best marriage
to be had in Europe and every eligible bachelor and
Widower knew it. The first suitor was the English Earl of
Al-‘undel. Philip II of Spain was interested and Secretary

\

lO Innes, pp. 311., pp. 245-246.

12

Cecil wanted her to marry the Scotch Earl of Arran or
Prince Eric of Sweden, both Protestants. The Archdukes
Ferdinand and Charles of Austria were added to the list
when Philip II was married and Elizabeth herself seemed
interested in Lerd Robert Dudley, Earl of Leicester.
Leicester was the son of Northumberland who had tried
te place Law Jane Grey on the throne and was subsequently
executed during Mary's reign. If it had not been for the
scandal and suspicion connected with the death of Leicester's
wife and his unpopularity with certain factions, it is
highly probable that Elizabeth would have married him.“
Seven years after her acessien she was still
undecided as to the marriage question. Meanwhile her
councillers pressed the matter of succession, the most
lorious being the pretentions of Mary Queen of Scotland.
liary Stuart, the great-granddaughter of Henry VII, had
IIiarried Francis II of France on April 24, 1558. One year
later Henry II ef France died and Francis and Mary became
King and Queen of France. As Queen of France and Scotland,
lWary incorporated the Arms of England with the French arms.
Elizabeth was quick te pretest and, under the influence
9f the French Guise's, Mary and Francis refused to

k
/

ll J.B. Black, 3;; £11.85 91 Elizabeth (Oxford:
Clarendon Press, 1936), p. 43.

13

remove them. 12

Francis II died in December 1560 and on August 19,
1561 llary Stuart returned to Scotland, the country she
had left thirteen years before. The situation in Scotland
had been a signally unstable one for many years. The
French Catholics obJected to the Reformation there. The
reformers were under the direction of two of the ablest
Scottish statesmen-«the Earl of Moray. Hary's half-brother,
and laitland, Earl of Lethington. Moray and Lethington,
along with the churchmen John Knox, worked unceasingly
to secure a Protestant Government in Scotland.

For three years Rory left the ruling of her country
to lloray and Haitland. Negotiations perpetually came to
a deadlock between Elizabeth and Mary. llary refused to
Sign the Treaty of Edinburgh recognizing Elisabeth's ‘
Position until Elisabeth accorded the succession of the
throne of England to nary." Religion cut athwart politics
“d lary Stuart became the focus of Catholic hepes to
depose Elizabeth and seek a Catholic Prince for the throne
31’ England.

In 1662 Elizabeth was stricken with small pox and
the possibility of her death forced the problem of succes-
tion to the fore. Diary Stuart had a claim to the English

""' "111:“? z 1 , s
e on we 3 mmgwgggzgh!

141.1! (low York: The Viking Press, 1935 , pp.

14

throne by inheritance as did Henry Stuart, Lord Darnley,
whose mother was the daughter of Margaret Tudor. Elizabeth
recovered but Mary's position became increasingly salient.
Moray and Maitland threatened Elizabeth with the possibil-
ity of a union between Mary and Philip of Spain. Elizabeth
counteracted with the Earl of Leicester as a candidate
for a husband to Mary. This was the situation for nearly
four years until the English Earl of Lennox and his son,
Lord Darnley, went to Scotland in February 1565. Contrary
to the wishes of all, Mary wed Darnley.13
In opposition the Protestant Lords in Scotland
forced an open rebellion. Moray and Maitland violently
disagreed and on October 6, 1565 Moray was forced to flee
to England. Mary, however, was being strongly influenced
by her Italian secretary, David Rizzio. Jealous of the
influence Rizzio had over Mary, the Scottish Lords and
Darnley finally acted in March 1566. They broke into
llary's room. at Holyrood and murdered Rizzio in her presence.
1'h.ree months later, on June 19th, Mary gave birth to a
ton, James. Mary, under the influence of James Hepburn,
Earl of Bothwell, reconciled herself with Moray, Maitland,
ms Darnloy. the following months were filled with

15 Mendell Creighton Th 91 W (New York:
II-ongmans, Green and Company: 1966*). 70.

15

intrigues and plots and the climax came on February 9,
156? when Darnley's house was blown up and his strangled

body was found in the garden.
Mary and her Scottish lover Bothwell were implicat-

ed and, although her part in the plot was never proved, it

is generally conceeded that she played a prominent part in

the murder.“ Moray completely abandoned Mary and Bothwoll

fled to Morway where he was eventually executed. Mary was

held prisoner in Lochleven Castle. She was forced to

abdicato in favor of her infant son and Moray was made
She succeeded in escaping from Lochleven on

Regent.
Mary fled to England and was put in the

Kay 16, 1568.
custody of the Earl of Shrewsbury away from her Catholic

friends in the north.
The year 1568 was also an uneasy one on the Contin-

I‘ho French were attempting to put an end to the

out,
Trouble in the

I‘Oligious wars that they were undergoing.

mOtherlands was Just beginning and the situation betwun

8Pain and England was troublesome. The strong possibility

‘1‘ Philip championing Mary Stuart's cause was always

Present.
This was the situation in 1569 which led to the

uprising of the English Northern Earls, Horthumberland

\_

14 2'018, 21o Moo PP. 190-191.

I"
”I

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I

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th'

VI.

‘\‘
\

16

snd‘lostmoreland. They received encouragement from France,
Spain, and the Pope to depose Elizabeth and put Mary on
the throne. However, the cause was hopeless from the
beginning and England had little difficulty in stopping
the one serious revolt of Elizabeth's reign.
The year 1570 opened with the murder in Scotland
of the Regent Moray. Rome took the opportunity to issue
the long delayed excommunication, depriving Elizabeth of
her pretended title to the Kingdom of England, releasing
her subjects from their allegiance to her, and interdict-
ing obedience to her laws. The actual outcome was far
different from anything Rome had anticipated. The
lEnglish stood by Elizabeth more strongly than ever before.
Englishmen of the Roman Communion have a right to
be proud that so many in those years of storm and
stress neither relinquished their faith nor forget
their patriotism; yet when their fellowbsubjects had
been thus absolved of their allegiance, the Protes-
tants can hardly be blamed for being over-ready to
assume that they were in league with the Queen's
enemies. The Pope could have done nothing calculated
more thoroughly to translate the ordinary sentiment
of loyalty into a passion of resentment against its
opposite. 5
England had to contend also with Ireland, France,
Gund Spain. Ireland, like Scotland, could be used as a
base of operations against England. Ireland was a country

Of continuous revolts and dangers of revolts and was

\

15 Innes, pp, g;§., p. 283.

m.”
04
end I

|IV q

IF.
'U 'l
n

11.1

l7
staunchly Catholic. While France was always striving to
rebuild the old Franco-Scottish alliance, she was not
beneath receiving aid from Elizabeth in her religious
difficulties. Elizabeth still dangled the marriage
proposition in front of them and in the end they were
to become allies. Spain, by this time, had gained the
America's, the route to the east, and trade with India
and Japan. Spain was, without a doubt, the strongest
power at this period. She controlled the seas and laid
the foundation for expansion. 'But Philip's position was
vulnerable. Financially Spain was in a serious condition.
Their empire had been too scattered to defend properly.
They.had to protect themselves on the Western Mediterr-
smean against the Turks. .dnd the Netherlands were a
constant source of trouble.

In 1575 England's position in Europe, though far
from secure, was relatively safe. The foreign debt,
which had hung like a millstone round her neck since
the commencement of the reign, was practically exp
tinguished. Trade was beginning to bloom, and for
the next eleven years wealth poured into the country.
The queen's credit stood high in Europe--much higher
than King Philip's, who could not borrow money at
.1oss than from 12 to 18 per cent., while Elizabeth
‘could have it at 8 or 9 per cent. The renewal of
'the treaty of Bleis with Henry III removed any
immediate danger from France: the crisis with Spain

had been disposed of by the treaty of Bristol and

time reopening of traffic between England and.Antwerp;
and Scotland was quiescent under the anglophil govern-
ment of Morton, the king being a minor of nine years.
Apart from the unalterable enmity of Rome and of the
0.2.11” who flitted about the Continent like uneasy

18

ghosts, living meagrely on Spanish pensions and
hoping for the 'enterprise' that would restore them
in triumph to their native land, there was little to
trouble the Sgeen except the continued turmoil in the

Netherlands.
Elizabeth kept the revolt in the Netherlands going

for two reasons. In the first place, if Philip was the
victor there was always the chance he would turn his arms
against Elizabeth in favor of the Catholics, striking at
her from the Netherlands. Secondly, France might heed the
call of the rebels with the obj ect of annexing the Low
Countries. Elizabeth found it beneficial to employ these
tactics until Philip either tired of war or submitted.
Nhile Elizabeth was occupied with the Netherlands,
Mary Stuart initiated a plot against her with a Floren-
tine banker by the name of Ridclfi. By the end of the
year Nalsingham and his agents had discovered the plot.
Ridolfi escaped to Spain; Norfolk, who was to have married
Mary in the event the plot was successful, was executed;

and Mary herself remained a prisoner."

Henry III, Duke of LnJou, succeeded to the throne
Of France in the spring of 1574. is Anjou had once been
encouraged as a suitor to Elizabeth, now his younger

brother, the Duke of Alenccn, was encouraged. Elizabeth

¥

16 Black, 2n. ELLE-a pp. 287-288.

17 James Richard Joy, g Ou lin Histgzy _o_§ Englgng
(New York: Chautauqua Press, 1890 , p. 195.

19
seemed determined to marry him, against the advice of
Cecil and the Council. This struggle between Elizabeth
and her Councillors went on until 1586 when Elizabeth
finally closed the matter and ended the question of her
marriage. In the meantime, the marriage proposal proved
an excellent political weapon.

During these years, 1574-1583, Sir Francis Drake
made his successful passage through the Straits of Magel-
lan. Sir Walter Raleigh sent expeditions to the New World
that settled in Virginia. The first Jesuit missioners
landed in England to win back the people to the old faith.
Elizabeth continued to frighten Philip with the prospect
of an Anglo-French alliance. French.policy took a more
active turn against Spain. Events in Scotland took a
more favourable turn and the situation in Ireland was
comparatively peaceful.

Early in 1583 Mary Stuart began another plot, this
time with.Francis Throgmorton. The plan was for a French
invasion of England under the protection of Spain.18 It
was stopped in good time, however, and Mary's second
serious threat to Elizabeth's throne collapsed.

Of equal importance was the assassination in 1584
of William of Orange, the leader in the Netherlands' fight

‘

18 Ibid., p. 199.

20
for freedom. With his death the possibility of Philip's
success there became imminent. But the Hollanders held
out against Philip, and England was saved temporarily
from sending aid. Leicester was sent to the Netherlands
in 1586 with.partial help. He accomplished nothing,
-however, and by the end of the year he was back in London.

.At the same time in England Nalsingham was preparing
the final trap for Mary Stuart's death. Anthony Babington
and a Jesuit named Ballard were plotting to assassinate
Elizabeth. Nalsingham and the Queen were informed of
each new development of the plot. When every member
connected with it had completely committed themselves,
'Malsingham stepped in and had the conspirators arrested.
For eighteen years Mary had been a prisoner in England.
The situation was finally brought before Parliament and
the House of Commons where Mary was accused of being a
murderess, an adultercss, and a common disturber of
Elizabeth's realm. On February 8, 1587 she met her death
on the block.19 The obvious heir to the throne of England
was now the Protestant James of Scotland. There was a
split in the Catholic ranks and any reasonable hope of a
Catholic rebellion in England vanished. The Protestant
Reformation was well underway in England. .As religion

¥

19 Creighton, gagen Elizabgth, pp. 227-230.

21
and politics were finally disentangled, the beneficial
idea of toleration was born.

The results of Mary Stuart's execution were far-
reaching. England stood alone. Spain, France, and Scotland
obJeotod to the execution. Ireland was in revolt and
trouble was still brewing in the Netherlands.

.At last, however, the endless evasion had ceased
to be possible. Leicester's campaign in the Nether-
lands, feeble ae it was, and Drake's expedition to
Cartagena, put an end to the theory that Spain and
England were at peace. It was known that in the
ports of Spain and Portugal Philip was making his
slow preparations for a naval attack; his ablest
admiral, Santa Cruz, had formulated a vast scheme-
vaster indeed than Philip was ever prepared to adopt.
The Guises were prepared to go any lengths to prevent
the legitimate Protestant succession in France; and
the French King had publicly thrown in his lot with
the Guisee. Now also Mary Stewart was not only cut
of the way herself, but before her death had declared
against the succession of her own claims of her son,
and had acknowledged Philip, a legitimate descendant
of John of Gaunt, as her heir. At last in Philip's
mind the suppression of Elizabeth acquéaed precedence
over the suppression of the Province .

Sir Francis Drake sailed from Plymouth on April 2,
1587 with nine fighting ships and transports for Cadiz and
Lisbon. Against the advice of the Vice Admiral Burrough
and his Council of War, Drake entered Cadiz, wrought
terrific destruction, and confiscated all the stores he
could. He then captured the Sargres forts at Capt St. Vin-
cent. Philip's transport arrangements were located there

‘

2O Innes, pp. 311., p. 556.

22
and Drake's destruction crippled the Armada for many
.months. Drake then sailed home, having made it impossible
for the Armada to sail during 1587. When Drake returned
to Plymouth, he brought enough booty to more than pay for
the cost of the expedition.

Nhile England and Spain were at last preparing for

open war, France was caught up in the war of the three

Henries-Henry II, Henry of Navarre, and Henry of Guise.21

Spain could not expect any substantial aid from France, and
England anticipated no difficulties of danger from Scotland
and Ireland.

The Armada put to sea with about 130 ships. Of
those, 62 were of over 500 tons burden. The whole
English fleet is given as 197 ships including the
34 of the Royal Navy. or these, only 49 exceeded
200 tons. The average tonnage of the 62 was quite
double that of the 49; and the aggregate of the 130
was approximately double that of the 197. The re-
corded lists and estimates also give the Spaniards
double the number of men and guns. Many of the
great Spaniards were little more than transports;
on the other hand, half the English ships were too
small for effective fighting. But there is little
doubt that the English fighting ships were much
better armed relatively to their size; that the guns
were better, and infinitely better handled. The
ships were in fact far superior as fighting machines,
because the two fleets were built, armed, and manned,
on two diametrically opposed theories of naval tactics:
which may be summed up by saying that the Spaniards
relied upon mass, and hand to hand fighting, the
English on mobility and artillery; applying uncon-
sciously by sea the principles by which the great
land-tacticians of the past, Edward III. and Henry V.,

 

21 Creighton, Thg Age 2; Elizabeth. pp. 172.174.

23
had shattered greatly superior hosts at Crecy and
Agincourt. The finer comprehension of naval strategy
on the part of the English admirals had been made of
no account by the ignorance of the supreme authority,
which detained the fleet on the coast: but their
tactical developments were unhampered. For the first
time on a large Egale the accustomed rules were about
to be discarded.

Leicester was in command of the Land Forces. The
Lord Admiral Howard of Effingham was in command of the
English fleet. Drake went as Vice-Admiral and John
Hawkins as Rear-Admiral. The Duke of Medina Sidonia was
in charge of the Spanish Armada when it sailed from Lisbon
on May 20, 1588. It was not until July 20th that they
came in view of Plymouth where the major part of the
English fleet was lying. After three encounters the
English scored their first victory and the Armada was
unable to secure a station in the channel. The Armada
went to Calais and the English fleet sent eight fireships
on them. Panic resulted and the fleet became scattered
during the night. The next morning the entire English
force lay to the windward within striking distance. The
struggle that followed was a desperate one and did not
let up until both fleets began to run low on amunition.
The English withdrew from the engagement when a storm

blew up. When it cleared the Spanish were in full flight.25

22 1111188, 22. we, Pp. 360-361.
23 Norah“ and Walker, no Elie. PP. 76-79e

24

The English lost about a hundred men and one ship.
Not more than half of the Armada returned to Spain. Nine-
teen are recorded as wrecked on the coasts of Scotland and
Ireland; five were lost in France and Holland; two were
sunk in the battle; two were abandoned to the English; and
the fate is unknown of thirty-five of the ships.24

The issues that had finally sent the Armada to

England were many. The religious problem, England's help
in the Netherlands, the English raids on Spanish coasts,
' Mary Stuart's execution, and the political and economic
situation were all involved. The defeat of the Armada
secured England's position as the dominant power on the
seas and in the world and greatly weakened Spain's.

The reign of Elizabeth and of the statesmen who
were her councillors was at its peak. England had proved
herself the mightiest power in Europe. She now controlled
the seas and had defeated every attempt to bring England
back to Catholicism. England had a more religiously
tolerant state than existed any where in Europe. Elizabeth
had kept England at peace and created the greatest of
national spirits. Nicholas Bacon died in 1579, Leicester
in 1588. Of more political importance was the death of

 

24 Black, 29,. _c_i_t,., p. 352.

25
the French Duke of Guise on December 23, 1588.25 Nine
months later Henry III was assassinated and Henry of
Navarre claimed the crown of France.

Drake and Norreys, accompanied by the young Earl
of Essex, led a counter-Armada against Spain in the spring
of 1589. Nothing was accomplished other than proving
that England.was still stronger than Spain. Drake had
failed, but Sir Walter Raleigh and the Earl of Essex-
Walsingham'e son-in-law and Leicester's step-son-became
the leading exponents of Drake's policy of war and action.
Elizabeth and Burghley were of the school of peace at any
cost, and Burghley's son, Robert Cecil, became the agent
of his father's policy.

In 1590 Walsingham died. Of the trusty servants
with whom Elizabeth began her reign, Burghley alone
remained.

The leading men of the new generation were Robert

Cecil, the Treasurer's second son, trained to business
under his father's eye, and of qualities similar,
though inferior; Nottingham (formerly Howard of Eff-
ingham), a straight-forward man of no great ability,
but acceptable to the Queen for his father's services
and his own (and not the less for his fine presence);

the accomplished Buckhurst; the brilliant Raleigh; and,
younger than the rest, Essex.

 

25 Creighton, .920 9.150: PPo 1307131o
26 Beesly,.gp..2;§., pp. 211-212.

26

During the years, 1592-1594, operations against
Spain consisted mainly of raids by privateering ships.
The injury to Spanish trade and to Philip's finances
was considerable. Those tactics did not stop Philip
from trying to reorganize his navy. Frobisher stopped
these plans with a successful attack against Spain on
the coast of Brittany. Frobisher died during the en-
counter, but the move, one that Raleigh strongly advised,
proved thoroughly effective.

Ireland, however, presented a much more serious
problem. Hugh O'Neill, Earl of Tyrone, had determined
to renew the old contest between Ireland and England.
Tyrone was corresponding with Philip in 1594 and a plan
was underway, with Ireland as a base of operations, for
another Spanish war with Elizabeth. Therefore, late in
1595, Elizabeth sent Drake and Hawkins on their last
attack on Philip. Hawkins died shortly after they sailed
from England and on January 28, 1596 Drake himself died.27
They had been unable to raid any of the strongly fortified
Spanish coastal cities, they missed the Spanish fleet, and
they were unable to return with booty of any kind. The

expedition returned to England without accomplishing
anything.

E7 Edward P. Cheyney, g Higtgrz 2; En 1 d, Vol. I
(New York: Longmans, Green and Company, 1926), pp. 545-549.

27

.Restless at his failure so far, Philip's deter-
mination to subdue England grew more acute. Orders and
counter-orders were issued from the English royal throne.
There were frantic appeals on the part of the French for
alliances against King Philip. On April 14, 1596 the
Spaniards took Calais. In June an English force was
organized to attack Cadiz. Howard of Effingham command-
ed as Admiral, the Earl of Essex as General in Chief, and
Sir Francis Vere commanded the well-trained troops. Cadiz
was taken on June 20, 1596.28 The expedition was a
brilliant success and made the twenty-nine year old Essex
a national hero.

The following summer Essex, Howard, and Raleigh
commanded another expedition against Spain. Corunna and
Ferrel, which they planned on attacking, were forewarned;
the winds were unfavourable; the Spanish treasure fleet
escaped them; and Raleigh and Essex quarreled violently.
They returned home with little accomplished. Spain could
still not muster enough to force open action, however, so
Tyrone came to temporary peace terms with the English

government concerning the Irish rebellions.29

 

28 Creighton,.gp..2;§., pp. 220-221.

29 Mandell Creighton, Th9 Tudorguagg th. Rggormgtion
(New York: Longmans, Green and Company, 1924), p. 82.

28

Burghley died, on August 4, 1598, at the age
of seventy-eight. Six weeks later, in his seventy-
first year, Philip of Spain followed him to the grave.
Elizabeth, at sixty-five, was the last of that genera-
tion still alive. The prominent figures now were
Henry IV of France, Philip III of Spain, Robert Cecil,
Sir Walter Raleigh, and who Earl of Essex-all of a
younger generation.

A disasterous defeat for the English in Ireland
occurred in 1598. Essex went to Ireland in April 1599
with the title of Lord Lieutenant and Governor-General.
With a warrant to return in a year's time, he headed
the largest army ever sent to Ireland-21,000 men.

Essex had been commanded to push straight into Ulster,
as he had himself advised, and finish the war. Instead
he proceeded to Leinster, Munster, and Dublin. He wrote
furious letters of complaint that the Council, Raleigh,
and Cecil were deliberately trying to destroy him for
their own ends. Elizabeth immediately sent him orders
to march against Tyrone and on no account to leave Ire-
land. Essex did so in August 1599. But, before any
action could be effected, Tyrone invited Essex to a
parley. The result was a pseudo-peace treaty. Both
armies withdrew and Essex fled from Ireland. 0n Septemp

ber 28, 1599, back in London, he was put under arrest.

29
He remained in custody from October 1599 to August 1600.30
Lord Mountjoy was sent in the place of Essex to
Ireland and he met with tremendous success in subduing
Tyrone. Cecil's party was now in complete control, but,
after his release, Essex was still the center of intrigues
against the crown. He tried to persuade James of Scotland
to join his cause and enforce his right to the English
crown. He urged.Mountjoy to take his army and join James.
A large number of men of the sword, who were supporters of
his cause, gathered at Essex's house. As a popular here,
Essex assured himself of the backing of the English people.
In February 1601 plane for the "coup d'etat' were
concocted at Drury House, the residence of his prin-
cipal supporter, the Earl of Southampton. It was
believed that he could calculate on a following of
120, composed of two earls, Southampton and.Rutland,
several barons, and a large number of gentlemen. By
this time, however, the court had learnt of the strange
goings-on at Drury House, and on 7 February the earl
was summoned to appear before the council. It had
probably come to Elizabeth's ears that the play of
Richggd.;I had been staged, with the sanction of his
supporters3 at the Globe theatre--an ominous event
in 1t.elre
Essex did not obey the summons to attend the
Council. On February 8, 1601 he led a group of three
hundred men into London to overthrow the Government.

London did not respond to his appeal, however, and that

 

30 Boesly,,gp..g;5., pp. 217-218.
31 Black, 22. 215.. PP. 371—372.

30
night Essex was a prisoner in the Tower. The trial
proceeded without delay, Elizabeth signed the death
warrant, and on February 25, 1601, in his thirty-fourth
year, Robert Devereux, Earl of Essex, was beheaded. Of
his accomplices, five were executed, Southampton was
pardoned, and the others were either fined or imprisoned.

At the time of Essex's death there were rumors
again of another Spanish invasion by way of Ireland.
Mountjey displayed his military ability at its best and
succeeded in destroying the last effort of Philip III.
The Irish rebellion was finally broken and Tyrone came
to terms with England. The English government succeeded
again in remaining supreme.

In Scotland James became more involved in the
question of succession to the English throne. Both Cecil
and Raleigh were corresponding secretly with James for
favour in the advent that he became King. By the end of
1602 Elizabeth showed signs of being in ill-health. She
outlived by five years her greatest adversary, Philip.

He died, having failed in Holland, France, and England.

Elizabeth would die having accomplished much for
England. The manifold dangers of foreign attack had been
successfully faced; the might of Spain was broken; the sea
became England's and the highroad to an empire was opened

wide; the nation was brought back from the brink of

31
anarchy; the popular confidence in the monarchy was
restored; and a national feeling was developed of a
depth and strength never before experienced.

The intellectual renaissance that developed during
this period aroused an interest in education which pro—
ducod an abundance of grammar and elementary schools.
Education became the privilege of classes to whom it had
been unattainable before. A knowledge of English was
demanded and histories of England's past were sold in
large quantities. Translations of the classics issued
from the press frequently and phamphleteers began to
mold public opinion.

The Elizabethan age in literature is one of the
-greatest in history. It was an expression of the English
people's consciousness of their own power and of their
national greatness. John Lyly, with his Rgmgncg,2;

E h , founded a new style of speaking and writing.

It was an affected style, but a style readily adapted by
the Court and Elizabeth.82 Sir Philip Sidney, a nephew
of Leicester, employed a more sober and straightforward

style of writing with his Thg Queen 2; the May,‘gggggig,
and.21;gggg.gg,ngsig.33 The philosopher, Sir Francis

 

32 Eeorge Freedley and John A. Reeves, A.H;§§ory g;
thg.2hg5§;g (New York: Crown Publishers, 19417. P. 103.

33 Charles W. Eliot, editor, Thg ngvgrd Classigg,
Vol. XXVII (New York: P.F. Collier and Son Company, 1910),
Ppo 5'6o

I'I

32
Bacon, exemplifies the Elizabethan prose writers at their
best. His Essays are excellent examples of the new English
literature.34

The dramatists and poets, however, bring this

period its greatest glory. Sir Philip Sidney's sonnets
show the beginnings of these love poets. Edmund Spenser's
Fggrig,gpggg is perhaps most representative of the new
culture. It is the great epic of Elizabethan England.
At the time of the defeat of the Armada the excitement of
the English people reached its peak and drama began to
flourish more fervently than ever. Of the dramatists,
Marlowe, Greene, Peels, Nash, and Shakespeare are the
most notable. Christopher Marlowe only lived to the age
of twenty-eight, but in that short time he wrote Tgmbur-
leinammsi.lheiaazkaln. sadism. Itm
in Shakespeare that Elizabethan drama reached its height.
His comedies, tragedies, and histories have established
his reputation as a poetic genius. Thus the poetry, prose,
and drama represented England and her people at their

greatest.35

The standard of living conditions was immeasurably

increased with the development of industry and commerce.

3: Ibid.. pp. 60-61.

35 Marchette Chute, Shgkgspggrg'gg London (New York:
E.P. Button and Company Incorporated, 1949), 397 pp.

33
In 1560 the coinage was stabilized by recalling the old

debased coins and replacing these with new standard ones.
The Poor Law of 1601, requiring all able-bodied men to
work, increased the number of farm laborers. In commerce
the government formed numerous trading companies--the
Muecovy Company, the Levant Company, the Turkey Company,
the Eastland Company, and the East India Company. With
the increase in trade England developed a large merchant
marine and both exports and imports increased in volume.

In the central government the Queen controlled
Parliament and, while it was an almost absolute rule,
she ruled under the constitutional forms. In local
government the old nobility had lost its former power.
The administration of justice was greatly improved under
Elizabeth over that of the other Tudor rulers.

The religious situation resulted in the establishing
of Anglicanism, although the Catholics and Non-Conformists
still had a small foothold. The Protestant reformation,
under the leadership of John Knox in Scotland, was well
underway after the execution of Mary Stuart. Scotland
and England were completely at peace. Ireland was com-
paratively quiet after Mountjoy's successes and Spain's
ambitions were completely frustrated.

This was the position of England at the beginning
of 1603. By March Elizabeth was desperately ill. The

34
last act of her reign was the naming of James of Scotland
as her successor. Then, on March 24, 1603, at the age of

seventy, Elizabeth Tudor died.

CHAPTER II
A CHARACTER ANALYSIS OF ELIZABETH TUDOR

An historical background of the period of Elizabeth's
life presents an understanding of the major political and
religious events that were taking place. When studying
the character of Queen Elizabeth as a woman in history, it
is necessary to take into consideration the psychological,
sociological, and physiological factors that contribute to
the making of this enigmatic and contradictory monarch.
The major psychological factors that will be evaluated are
Elizabeth's abilities and qualities, her temperament, the
chief disappointments and frustrations in her life, her
personal ambitions and attitude toward life, her moral
standards, complexes, and intelligence quotient. Eliza-
beth's class, occupation, education, religion, home life,
race and nationality, political affiliations, and amuse-
ments are the sociological factors that will be analyzed.
The physiological factors of Elizabeth's life that will be
considered are her age, sex, appearance, height, posture,
color of hair, eyes, and skin, and other hereditary
influences that directly affected her.

In policy Elizabeth used dissimulation, pliability,
indecision, procrastination, parsimony, cunning, and pre-

varication. In this manner she dealt with France and

36
and Spain, and Rome and Calvin. She was Protestant
because of her birth and became the leader of both the
Reformation and the Renaissance. Elizabeth kept England
at peace for thirty years. Her subtle intellect, whether
being exercised at Court Festivities or in the Council,
combined itself easily with her temperament.

That too--in its mixture of the masculine and the
feminine, of vigour and sinuosity, or pertinacity and
vacillation-—was precisely what her case required. A
deep instinct made it almost impossible for her to
come to a fixed determination upon any subject what-
ever. Or, if she did, she immediately proceeded to
contradict her resolution with the utmost violence,
and, after that, to contradict her contradiction more
violently still....Her femininity save her....Yet if
is true that a woman's evasiveness was not enough;
male courage, male energy were needed, if she were
to escape the pressure that came upon her from every
side. Those qualities she also possessed.1

She was infinitely subtle and humane. Her temper

was violent and instantaneous. She was vigorous, swore
vividly, spat like a man, and struck with her extraordin-
arily long hands. Her laughter was immediate and stimu-
lating. Elizabeth loved hunting and out-of-doors activities
one moment, but the next moment would find her with her
secretaries coldly discussing state business. Although

she dressed with elaborate femininity, Elizabeth talked

and acted like a man. She was in every respect a

representative of the Renaissance. She knew six languages,

 

l Lytton Strachey, Eliz b th and Egsex (New York:
Harcourt, Brace and Company, 1928), pp. 11-13.

37
was a student of Greek, an excellent musician, and had
a rich background in painting and poetry. Her dancing,
after the Florentine style, was magnificent. Elizabeth's
conversation was brilliant, humorous, and intelligent.

Her command over words and her perception of personalities

made her one of the greatest diplomats of her age.2

As a young girl, Elizabeth studied under Richard
Cox, whom she afterwards made Bishop of Ely, Sir John
Choke, the great Cambridge scholar, and later, Roger
Ascham. It was with these men that Elizabeth's intelli-
gence was nurtured and bred. The brilliant mind, for
which she was to be greatly admired in later years, was

carefully trained.

“It is difficult to say,“ Ascham told his friend
Sturm, the celebrated Strassburg scholar and Protes-
tant, ”whether the gifts of nature or of fortune are
most to be admired in my distinguished mistress.

The praise which Aristotle gives, wholly centres in
her; beauty, stature, prudence, and industry. She
has just passed her sixteenth birthday and shows
such dignity and gentleness as are wonderful at her
age and in her rank. Her study of true religion

and learning is most eager. Her mind has no womanly
weakness, her perserverance is equal to that of a
man, and her memory long keeps what it quickly picks
up. She talks French and Italian as well as she does
English, and has often talked to me readily and well
in Latin, moderately in Greek. When she writes
Greek and Latin, nothing is more beautiful than her
handwriting. She delights as much in music as she

 

2 Ihida' pp. 11-18.

58

is skillful in it. In adornment she is elegant
rather than showY....I am invgnting nothing, my
dear Sturm; there is no need.

Roger Ascham's observation of this young girl show the
beginnings of that side of her nature for which all men
were to praise her-her intelligence, determination, and
versatility. Each of these characteristics Elizabeth
found valuable in all of her dealings. What is more

important, she knew how to use them to her best advan-

tage.

Nor was it only in her mind that these complicated
contrasts were apparent; they dominated her physical
being too. The tall and bony frame was subject to
strange weaknesses. Rheumatisms racked her; intoler-
able headaches laid her prone in agony; a hideous
ulcer poisoned her existence for years....In spite
of her prolonged and varied sufferings, Elizabeth
was fundamentally strong. She lived to be seventy-
a great age in those daYs--discharging to the end
the laborious duties of government; throughout her
life she was capable of unusual bodily exertion;...
Probably the solution of the riddle--suggested at the
time by various onlookers, and accepted by learned
authorities since-was that most of her ailments were
of an hysterical origin. That iron structure was a
prey to nerves. The hazards and anxieties in which
she passed her life would have been enough in thong
selves to shake the health of the most vigorous; but
it so happened that, in Elizabeth's case, there was
a special cause for a neurotic condition: her sexual
organisation was seriously warped....

From its very beginning her emotional life had been
subjected to extraordinary strains. The intensely
impressionable years of her early childhood had been
for her a period of excitement, terror, and tragedy.

O O O O O O O O O O O O O O O O O O O O O O O O C O C

 

3 John Ernest Neale, Queen Elizabeth (New York:
Harcourt, Brace and Company, 1934), pp. 16-17.

39
Who can wonder that her maturity should have been
marked by signs of nervous infirmity?...Marriage was
distasteful to her, and marry she would not. For
more than twenty years, until age freed her from the
controversy, she resisted, through an incredible
series of delays, ambiguities, perfidies, and tergiv-

creations, the incessant pressure of her ministers,
her parliaments, and her peOple.

Everything points to the conclusion that such-
the result of the profound psychological disturbances
of her childhood-was the state of Elizabeth.4
In spite of all the power she possessed, Elizabeth
was also an extremely insecure woman. The basis of this
insecurity started when she was born to Anne Boleyn and
Henry VIII, an unwanted daughter. When Elizabeth was two
and a half years old she was the legitimate heir to the
English throne. Her older half-sister Mary had been de-
clared illegitimate when Henry VIII had divorced Catherine
of Aragon in order to marry Anne Boleyn. After Anne was
executed, Elizabeth was banished from her father's sight.
She was sent to Hunsdon House, in Hartfordshire, where she
was put under the care of Lady Margaret Bryan, Katharine
Ashley, and Blanche Parry.
Elizabeth had been uprooted from all that stood for
security to her. For the next eleven years her affections
had never been able to make claims anywhere. At the age

of fourteen she suddenly found herself settled in the

 

4 Strachey, pp. cit., pp. 19-24.

40
atmosphere of home life. After Henry's death in 1547 she
was placed under the care of the Queen-Dowager, Catherine
Parr. Thomas Seymour, after proposing and being refused
by Elizabeth, married Catherine and it was with this
couple that Elizabeth found herself. For once she felt
security in her life and attached all of her emotions to
this feeling of stability that had been denied her for
fourteen years. She continued her education here with
Roger Ascham and laid the firm foundation for all of the
intellectual dealings as a future Queen. As she grew to
enjoy Seymour's company more and more, she soon began to
think of other things. The Lord Admiral was a man in his
late thirties. He had had short-lived love affairs,
brief political dreams, and great ambitions. What started
as a flirtation between Elizabeth and Seymour soon bloomed
into a love affair between a young girl, experiencing her
first feelings of security, companionship, and love, and
a man old enough to be her father. History records the
early days of their romance as being the happiest and
most carefree in Elizabeth's life. Catherine Parr seemed
ignorant of the extent to which it had gone. In 1548,
however, Catherine became pregnant.

As sometimes happens on such occasions, the husband
looked around for comfort and found it, in this case,

quite close at hand. His attentions to Elizabeth be-
came more eager and his opportunities for being alone

41
with her increased. The Queen, in her sixth month of
her pregnancy, came one day unexpectedly upon them-n
Elizabeth and Lord Seymour-“he having her in his
arms.‘I He must have had her in his arms before this
and often, and so it must have been the secrecy which
offended his lawful wife. We gather that she was
offended and that the Princess was frighteneg. Per-
haps the Admiral was at last frightened too.

That spring Elizabeth was sent away from the Seymour
household and the following August, Catherine died in child-
bed. The double shock of being banished from another home
and the death of Catherine was a tremendous one for Eliza-
beth. Once again she stood alone and Seymour's actions
after the death of his wife did not improve matters any.6
His ambitions carried him farther away from what he wanted
and the early part of 1549 found him a prisoner in the
Tower. Along with Seymour went Catherine Ashley, Elizabeth's
governess, and Thomas Parry, her steward. Elizabeth was
confined at Hatfield. Her position became extremely
perilous as the Lord Protector Somerset and the Council
tried to draw her into the affair. It was rumored that
she was with child by Seymour and that they were plotting

to take the throne.7 For the first time Elizabeth had

 

5 Katharine Anthony, ngen Elizabgth (Garden City,
New York: Garden City Publishing ompany, 1929), p. 41.

6 Edward Spencer Beesly, Queeg Elizabeth (New York:
Macmillan Company, 1892), pp. 2-3.

7 Anthony,,gp. cit., p. 51.

42
real fear for her life, but she also was provided with her
first opportunity to prove herself as a woman of extreme
skillfulness.

She stood by her innocence steadfastly, cautiously
and prudently working around the Council until they finally
absolved her of any connection with Seymour. Elizabeth's
ability as a stateswoman showed itself for the first time
in all the power that she was to employ in her future role.
Her brief experience with security and its abrupt conclu-
sion taught her how to deal with people. Never committing
herself or involving herself unwittingly, she succeeded in
completely baffling her accusors. Her fundamental feeling
of unstability forced that side of her character that was
contradictory and puzzling, that side that forbade Eliza-
beth from ever showing her real emotions or thoughts.
Nothing could prevent the death of Thomas Seymour and,
on March 20, 1549, he met his death on the scaffold.

This was a crushing experience for a girl of
sixteen. It was undoubtedly the great crisis of
Elizabeth's life, and did more than anything else
to form her character. She learned, and she never
forgot the lesson, that it was dangerous to follow
her inclinations and indulge her affections. She
dearly loved Seymour, with the ardour of a.passion-
ate girl. She was on the brink of a secret marriage
with him, though she knew his coarse character and
had been witness of the unhappiness of his former

wife. She had a strong feeling of attachment for
Catherine Ashley, and had trusted to her discretion.

43
She learned the limitations of human trustworthiness,
the inevitableness of personal responsibility. All
this was an unwelcome revelation of life and its
issues to herself. She must trust in herself and in
herself only. Rigorous self-repression and self-
restraint could alone enable her to stand securely. 8
Love, trust, confidence were all beset with dangers.
Years later Elizabeth became entangled in another
love affair, this time with Robert Dudley, the Earl of
Leicester. He was consumed with ambition as Seymour had
been and its focal point was always Elizabeth. Elizabeth,
in turn, first encouraged then discouraged him. As usual,
she refused to come to any decision concerning the marriage
problem. Here is another facet of this many-sided charac-
ter. Elizabeth seemed unable to come to a decision, or if
one was made, to stick by it. Always procrastinating,
evading, changing her mind, no one was capable of knowing
what she really thought. The Leicester affair is an ex-
cellent example. She refused to marry him because he was
a subject, and yet she refused to marry a foreigner because
he was not English. Elizabeth did not give up Leicester
either. The scandal and gossip connected with their names
grow to large proportions and, with the sudden death of

Dudley's wife, Amy Robsart, it reached its climax.

 

8 Mandell Creighton, Queen Elizabeth (London:
Longmans, Green and Company, 1920), pp. 15-16.

44

Elizabeth, as she looked back upon the past, must

have seen that she was repeating a former experience.
She had endangered herself before by a coarse flirta-
tion with Seymour: now there was no one to call her
to account, but she was endangering her position by

an unseemly flirtation with Dudley. Doubtless she

saw her folly and regretted it; but she was too proud
to avow her regret, or to reverse her conduct suddenly.
Still her eyes were open to the fact that she was de-
rided abroad and had sown discontent at home. In the
beginning of October she told Cecil I‘that she had made
up her mind and did not intend to marry Lord Hobart";
Yet she did not break off her intimacy with.him.

Once again Elizabeth had given herself in love and
had allowed the woman to rule the queen. Nothing stOpped
her until the general unrest of her people made itself
known. Her loyalty to England is the one consistent
factor in Elizabeth's character. Her deep feeling of love
and responsibility for her people would never allow her to
make a step that would endanger their loyalty to her.
Elizabeth seemed to give herself completely to her country
as she was never able to do with any one person. Although
her name was linked with Dudley's for the next thirty
years, she never allowed herself to let her emotions rule
her head again. The lesson she learned from Seymour's
death, and later from Dudley's love, was undoubtedly great.

After the death of Thomas Seymour and during the
remainder of Edward's reign she spent her time at Hatfield

or Ashridge. Ascham continued as her tutor and Elizabeth

 

9 Ibid., p. 68.

45
throw herself headlong into her studies. Her reputation
had been damaged materially and she was determined to
rebuild it. She lived quietly, behaved modestly, and
acted in as pious a manner as possible.10

It was only natural that Elizabeth should have
looked to Mary for an example of exalter demeanour.
Mary was the only woman in her environment who rep-
resented royalty. She was the offspring of the
world's highest culture, for Spain was then the
Beau Brummel among nations, the home of fine manners
and silk stockings, where people were inclined to
look down from great heights on the crude English.
The child of Anne Boleyn must have early realized
her inferior ancestry and tried unconsciously to
imitate her Spanish-English sister. It would be
interesting to know where the two girls got the
deep contralto voices, sometimes referred to as
harsh, which characterized them both in womanhood.
As they shared the red hair of the Tudors, they also
had this common trait, however it originated....
Both of the Tudor Princesses had a strong motive
for adopting the unfeminine trait. Circumstances
compelled them from their earliest infancy to play
the part of men in life, whether they liked the role
or not. A harsh commanding voice may have been a
help to them in this.11

The necessity of Elizabeth's impressing her older
half-sister with her good reputation cannot be undervalued.
Edward VI was ill and Mary would ascend the throne. Mary's
distrust of her had shown itself from the moment of
Elizabeth's birth. If Mary became Queen of England it

was necessary for Elizabeth to be in her good graces. Too

 

lo Ipidg' pp. 15-16.
11 Anthony, pp. cit., pp. 24-25.

46
many Tudors had gone to the Tower for Elizabeth not to
realize that this fate was just as possible for her.
Elizabeth had successfully escaped peril with Thomas
Seymour, yet she still faced dangers in the event Mary
became queen. Elizabeth's keen and adroit judgement of
her future forced in her character a subtle and cunning
manner which she used to great advantage for the next
fifty years. This clear-sighted looking ahead that was
so characteristic of Elizabeth's later policies showed
itself for the first time.

By the middle of May 1553, Edward was dead and the
Northumberland fiasco had miscarried. Elizabeth rode to
London where she met Mary and, on August 3, 1553, they
entered the city.

The two half-sisters were a striking contrast.
Mary was in her thirty-eighth year; short, very
thin, with a round face, reddish hair, large light
eyes, and broad, rather low nose. She had once
been attractive, but worry had marred her looks and
made her prematurely grave; ill-health, too, the
result perhaps of her sufferings had helped to steal
her youth away. Elizabeth was just twenty, in the
full bloom of life. Some thought her very handsome,
others rather comely than handsome. She was moder-
ately tall, with a fine figure to which her dignified
carriage lent impressive majesty. Her hair was
golden, but more red than yellow; her skin was fine,
though of an olive complexion. She had striking
eyes, and above all, beautiful hands which she knew
how to display. The old world and the ng; such
were these two daughters of Henry VIII.

 

12 Neale, 22. £11., p. 28.

47

Elizabeth faced a grave problem. Nothing had been
done about her illegitimate status and Mary had no inton-
tions of correcting the situation. So deepened the
intrigue between these two sisters, one a staunch Catholic
and the other a Protestant, who strove to please her sister
by attending Mass. True to the follies of the age, plots
developed and maintained as their center, Elizabeth. Ever
increasing were the plots to make Elizabeth Queen and rid
the country of Mary. Once again Elizabeth had good reason
to fear for her life and, hardened as she had become, she
learned what was to be the basis of her later policies--
rule by your head and think only of England. The insecurity
of her position paralleled itself with the Seymour affair.
Elizabeth was wiser now. Her diplomacy in handling Mary
saved her. The cold, objective intelligence of this
young Princess enabled her to see what the future might
have in store for her. Elizabeth would not allow anything
to destroy her opportunity of one day being Queen of England.

Mary, in the meantime, was corresponding with her
cousin, the Emperor Charles V of Spain, for a marriage
between herself and his son, Philip.

No caution could overcome the repugnance of the

English people to this invitation of a foreigner to
mix in English affairs. It was in vain to represent

48

to Mary the dangers which she ran. 'Rather death,“
she said, 'ghan marriage with any one save the Prince
of Spain."1

This was the situation in 1554 when Sir Thomas
Wyatt rebelled. The plot was frustrated, but provided
Mary with an excellent reason for placing Elizabeth in

the Tower.

It was discovered that Wyatt had twice written
to her and received answers, but they were verbal
and amounted to nothing. They may not even have
been here, for some of her servants had been in-
volved in the conspiracy, and there is no saying
what use they had made of her name. Anyhow, verbal
answers could always be repudiated. Elizabeth did
not stop at this: 'As for the traitor Wyatt,” she
said, 'he might preadventure write me a letter, but
on my faith I never received any from him." Whether
she was speaking the truth, or whether, as is poss-
ible, it was a clever half-truth, there is no means
of saying. It is difficult to believe that she was
ignorant of the conspiracy. She may not have approv-
ed of it, for it was not in her nature to rejoice at
the prospect of receiving a crown at the hands of
rebels and at the expense of her sister's life.
But supposing--as hints in later life suggest--that
she both knew and disapproved, she could neither
resist nor betray men who were devoted to her cause.
Her only possible line of conduct was to keep clear
of anything that might fatally compromise her. It
called for skill, but skill of a kind that was
supremely here. The Government could say no more,
nor can posterity say more, than the words which
she was said to have scratched on a window pane:

Much suspected by me,
Nothing proved can be.14

 

13 Creighton, pp. ci§., pp. 25-26.
14 N081., 22o _°__1_t_op pe 37o

49

After two months in the Tower, Elizabeth was
finally released. Mary was not blind, however, to the
developments and worked harder than ever at a plan to
strike Elizabeth out of the succession. If it had not
been for Mary's marriage with Philip of Spain perhaps
she would have succeeded. As it turned out Mary became
a lovesick.woman and would do anything to please the
husband who grew to hate the country and his wife.
Philip saw in Elizabeth the possibility of a good
marriage with some Prince of the Roman faith. The ad—
vantages for tying England more firmly to Catholicism
could not be overlooked. Philip wanted Elizabeth's
freedom and Mary obeyed him. Philip left England and
only once returned, and then to engage England in a war
with France. While in England as a bridegroom, Elizabeth
had been able to befriend Philip. Partly through his
efforts she retrieved hor liberty. Throughout the rest
of Mary's reign, Elizabeth managed to say out of trouble
and to quell the attempts of her loyal friends to put
her on the throne in Mary's place. On November 17, 1559,
Mary died, closing an unhappy chapter and not promising
a pleasing beginning for Elizabeth. England had grown
skeptical of women rulers and was doubtful of the qualities
of this young girl. Elizabeth ascended the throne when
she was twenty-five; Many when she was thirty-eight.

50

Few rulers ever ascended a throne better prepared
for her task than did Elizabeth. The facts of her
personal experience had corresponded with the exper-
ience of the nation. Her own life had been interwoven
with the national life. She had been in imminent dan-
ger, both under Edward and under Mary. She had suffer-
ed; she had learned as the nation learned and suffered.
She had lived amongst perils, and had been taught the
need of prudence. Self-mastery, and self-restraint
had been forced upon her. Bitter experience had taught
her how little she could satisfy her own desires, how
little she could confide in the wisdom or discretion of
others. She had spent long hours in enforced solitude
and reflection as the drama of events passed before her.
She had seen the failures of others lives, their dis-
appointments, and their tragic end. And, in all this,
she had been no idle spectator, but one whose own
fortunes were deeply involved; and at each new turn of
events men's minds had been more closely directed to
her, so that her personal importance had been emphasised.
She seemed to form part of all that the nation had
passed through. Now she was called upon to amend the
melancholy results of the ill-directed zeal of others,
to bring back England to peace and security. . . . Her
training had been severe; but to that severity was due
the character and the qualities which enabled her to
face the work which lay before her. She would not
have ha it otherwise, for it made her one with the
DOOPICe 5

Elizabeth was now confronted with an entirely new
and different situation. She was in absolute control and
was granted all of the security of position that had been
denied her during the first twenty-five Years of her life.
That she could never trust even the security of kingship
is shown in_the way she Jealously guarded her new position;
in the way she suspiciously handled all who came in contact
with her; and in the way shd’clung to all the adverse

 

15 Creighton, pp. cit., pp. 41-42.

51
qualities she had been forced to knit into her personality
as a young girl.

As a queen she was royally imperious and personally
charming like her father Henry VIII; cautious, prudent,
thrifty, and stingy like her grandfather Henry VII. Eliza—
beth was as gracious as her mother, but not as affectionate.
She never eXperienced the full meaning of love--not with a
Seymour, a Leicester, or an Essex. She was proud, vain,
unscrupulous, and cold like both her parents.16 She could
be sincere and natural at times, and dissemble with great
ability at other times. Yet, although she was inconstant
and uncertain, she deeply felt the responsibility of her
position and in this Elizabeth fully represented England.
She created a feeling of personal loyalty in her subjects
by avoiding unhealthy undertakings and keeping down ex-
penses. In the light of facts it would appear that she
acted with the results in mind, not caring what the means
might be. Elizabeth never acted until she was assured of
the popular backing and yet she never took either her
people or her Council into her full confidence.

The first important act of Elizabeth's reign was
her appointment of Sir William Cecil, later known as Lord
Burghley, as her Principal Secretary. A man of thirty-

 

16 Ibide, DD. 5-60

M‘s:
I“ ‘1‘.

HE :0

129 I16

W

'ale

‘s..
I. ‘E

52
eight, of middle class stock, he had been Personal Secre-
tary to the Lord Protector Somerset and had managed to
survive his fall, Northumberland's rise and fall, and
Lady Jane Grey's. By choice he was a Protestant but,
during Mary's reign, he conformed to Catholicism. He
was to be the dominant voice in Elizabeth's policy for
the next forty years.

He was a person in whom intellect and not emotion

ruled; and he sought intelligence even in marriage.
His first wife was Cheke's sister, his second one of
the brilliant daughters of Sir Anthony Cooke, whom
Ascham named with Lady Jane Grey as the most learned
women in England. His capacity for work, his care
for detail, his grasp of difficulties, amounted to
genius; and if ever there was a perfect minister, it
was he. No step was more propitious at the opening
of Elizabeth's geign than his appointment as Princi-
pal Secretary.1
Elizabeth and Burghley were as one with all of the policies
of the reign. When Elizabeth was impulsive, contradictory,
er demanding, Burghley was cautious, deliberate, and
prudent.

Besides Burghley, Elizabeth appointed Sir Francis
Walsingham to her Council. For over forty years Elizabeth
trusted these two men more than any of her Council. She
found them loyal, able, and resourceful, and in return

they received her loyalty.

 

17 Neale, 32, §i3., p. 53.

55

Walsingham won his position by sheer force of
ability and character; qualities in him which were
probably discovered by the penetration of William
Cecil, with whom he was always on the most cordial
terms, although himself the advocate of a much bolder
policy than was favoured by the cautious Lord Treasur-
er. None could say of Walsingham, as his enemies have
said of Cecil, that he was in any degree a time server;
he was not only as incorruptible, but it could never be
hinted that in affairs of State his line of action was
deflected by a hair's breadth by any considerations of
personal advantage or advancement. He indulged in none
of those arts of courtiership which not only a Leicester,
a Hatton, or an Essex, but even a Raleigh, took no
shame in employing to extravagance. Not Knollys nor
Hunsdon, her own outspoken kinsmen, could be more
blunt and outspoken to their royal mistress than he.

It would be difficult to find in the long roll of
English statesmen one more resolutely disinterested, or
one whose services, Being admittedly so great, were re-
warded so meagrely.1

Although Elizabeth's loyalty did not often manifest
itself in generosity, she relied heavily on these two men.
Never having received generosity as a child, Elizabeth
never found it within her power to be overtly generous
with others. She repaid them by giving them her confidence
and by following most of their advice. Elizabeth, who was
passionately against war-like measures, found them a stabil-
izing influence for the hotheads at court who favored war.
While Burghley figures in her religious and political
policies, Nalsingham appears mainly in the light of a
secret service agent. Elizabeth could not have done without

either of these brilliant men.

 

18 Arthur D. Innes Ten Tudo; State men (Londonl
Grayson and Grayson, 1934 , pp. 24l-24§.

54

The complete antithesis to Elizabeth was Mary
Stuart, the romantic Queen of Scotland and the Isles.
Mary Stuart had few of Elizabeth's qualities. She was
a romantic and acted as one in every sense of the word.
The struggle between these two women went on for twenty-
nine years and ended with Mary's death on the block. They
were both at different ends of the pole as women and as

gas 811‘ e

Mary Stuart was the champion of the old Catholic
faith; Elizabeth Tudor constituted herself the defender
of the Reformation. The two queens symbolized two an-
tagonistic eras, two antagonistic outlooks upon the
universe; Mary incorporating that which was dying out,
the Middle Ages, the days of Chivalry; Elizabeth being
the embodiment of the new, the coming time. Thus the
birth-pangs of a fresh turn in history came to be
suffered an the struggle that ensued between these
cousins.1

Elizabeth's indecision concerning Mary's death is

the greatest example of her inability to make up her mind.
The insistence of the councillors that she sign the death—
warrant made it easier for Elizabeth, for she was anxious
to shift the blame from herself to the members of her
Council. This way Elizabeth's clemency would be praised,
and the Continent could not blame her for Mary's death.
Still Elizabeth would not come to a definite decision. Her

uncertainty led to outbursts of temper and overwrought

 

19 Stefan Zweig, Magy Queen g; Scotl d and the
Isles (New York: The Viking Press, 1935 , p. 80.

55
nerves. After putting it off for nearly a half a year,
Elizabeth signed the death-warrant and Mary was executed.
Even with this positive act, Elizabeth took a reverse
stand and declared she never intended that the death-
warrant be carried out.

One of the greatest dangers to her political se-
curity was removed when Mary Stuart was executed. Her
next victory came with the defeat of the Spanish Armada.
The defensive period was over and England began to lay
the foundations of a worldwide empire. It is at this
point that Elizabeth reached the highest peak of personal
victory for herself and England. She had ruled England
for thirty years. Her private life had become one with
the stats. She had never married, although her councill-
ore and her subjects had desperately wanted it. She had
successfully warded it off, year after year, until now
marriage was too late. She had involved England in a
war With Spain only when it had become unavoidable to do
anything else. The country was now prosperous and unified
and the people humbly thanked their queen for it.

Elizabeth herself was older now. She could sit
back and relax, discard the mask she had worn for so
long, but she chose to keep it on. The characteristic
qualities that had been implanted in her as a young girl

had become too much an integral part of her. Whether she

56
wanted to or not, Elizabeth could never show her real
self. Elizabeth was still distrustful of people and
situations, and could not even now trust in the security
with which she found herself surrounded. She was still
unable to completely give her love, trust, or confidence
and, as a result, she drew more than ever within herself
and lived the rest of her years as much an enigma as ever.

When she was at this peak of personal victory, her

favourite, Leicester, died. For thirty years Elizabeth
had continued in her relationship with him and, although
her love was first for England, she had attached herself
to him as a symbol of past love and youth. The ties of
the past were beginning to leave her. The last person
who was left for her to love was Leicester's step-son
Robert Devereux, Earl of Essex. There was a fatal
attraction between Queen Elizabeth and the Earl of Essex;
a woman of fifty-five who was trying to recapture youth,
and an ambitious man of twenty-one. Essex, like his
predecessors Seymour and Leicester, was a dashing, young
court favourite. full of the adventure of the age.

The ambiguous years passed, and the time came at
length when there could be no longer a purpose in
marriage. But the Queen's curious temperament re-
mained. With the approach of old age, her emotional
excitements did not diminish. Perhaps, indeed, they
actually increased; though here too there was a

mystification. Elizabeth had been attractive as a
girl; she remained for many years a handsome woman;

57

but at last the traces of beauty were replaced by hard
lines, borrowed colours, and a certain grotesque in-
tensity. Yet, as her charms grew lose, her insistence
on their presence grew greater. She had been content
with the devoted homage of her contemporaries; but from
the young men who surrounded her in her old age she
required--and received--the expressions of romantic
passion. The affairs of State went on in a fandango

of sighs, ecstasies, and procrastinations. Her pres-
tige, which success had made enormous, was still
further magnified by this transcendental atmosphere of
personal worship. . . . Her clearsightedness, so
tremendous in her dealings with outward circumstances,
stopped short when she turned her eyes within. There
her vision grew artificial and confused. It seemed as
if, in obedience to a subtle instinct, she had succeed-
ed in becoming one of the greatest of worldly realists
by dint of concentrating the whole romance of her
nature upon herself. The result was unusual. The
wisest of rulers, obsessed by a preposterous vanity,
existed in a universe that was composed entirely either
of absurd, rose—tinted fantasies or the coldest and
hardest of facts. There were no transitions--only
opposites, Juxtaposed. The extraordinary spirit was
all steel one moment and all flutters the next. Once
more her beauty had conquered, once more her fascina-
tions had evoked the inevitable response. She eagerly
absorbed the elaborate adoration of her lovers, and, in
the same instant, by a final stroke of luck and cunning,
converted them-~like everything elge she had anything
to do with-~into a paying concern. 0

Elizabeth had had little difficulty with troublesome

subjects. They had a deeprooted faith in their queen and

were not tempted to arouse her anger. Essex probably

caused Elizabeth her most anxiety. At first their rela-

tionship was romantic and easy going, but these two

distinct personalities were not without their quarrels. In

 

20 Strachey, £0 Me, PP. 25'27e

58
the end it proved to be Essex's undoing. They were for-
ever quarreling, separating, reconciling, and quarreling
again. This relationship was to be repeated many times
before they finally parted.

Early in 1593 Essex was sworn into the Privy Council.
Elizabeth was sixty; Essex, twenty-five.

As time crept upon her, she seemed to shrink and
retreat into the serried gorgeousness of her apparel.
Farthingale and ruff became wider and wider. sleeves
swelled beyond the circumference of the normal human
body, her Majesty was lost within them, and it was
impossible to calculate her form. Only the women who
dressed her knew that she was a skeleton, still cover-
ed with skin but almost devoid of flesh. Between the
flaming impossibility of the wig and the width of the
cartwheel ruff, the world could only see a carefully
painted skull, domineered over by that high, arrogant,
hawk-like nose; but from their deeply sunken sockets,
the dark, glowing eyes were disquietingly alive. One
thing alone time had scarcely touched, her long,
beautiful hands. Their skin was drier and the blgi
paths of their veins more distinct, that was all.

Essex, throughout his brief career, was the most
generous patron of Anthony and Francis Bacon. In every
attempt for his friends he failed, however, and in his own
fatal hour neither came to his aid. Francis eventually
turned to the side of Burghley's hunch-back son, Robert
Cecil, and Sir Walter Raleigh. Robert Cecil had virtu-
ally taken over the position of Principal Secretary when

 

21 J. Delves-Broughton, giggg Imperial (London:
Faber and Faber, LTD, 1949), pp. 432-433.

59
Sir Francis Walsingham died in 1590. He had been care-
fully educated and possessed much of the great ability
that his father had. Raleigh was representative of the
rising generation, the men of action. He taught England
the might of her fleet and he opened up for her the idea
of an Empire beyond the seas. Raleigh's policies agreed
in the main with those of the Cecile. The Cecile had no
liking for Essex, and Essex, in his turn, was violently
Jealous of Raleigh's favour with Elizabeth. Essex, who
could never conceal his feelings concerning anything,
made his enmity known and Elizabeth used this also to

her own advantage.

One day, during a discussion about the appointment
of a Lord Deputy for Ireland, Essex was irritated that
Elizabeth did not follow his advice. He turned his
back upon her with a gesture of contempt. Elizabeth's
wrath flamed out in a moment. She gave Essex a box on
the ear, and told him to 'go and be hanged". Essex,
in a fury, clutched his sword, and Nottingham had to
come between them and drag away Essex, who swore that
he would not have brooked such an affront from Henry
VIII himself. It was some time before Essex could be

induced to agglogise, but Elizabeth never entirely
forgave him.

He left the court and went to Wanstead. At the
same time the court was shocked by the death of Burghley.
Net ten days after his death, the situation in Ireland

became more serious. Essex reconciled with Elizabeth.

 

22 Creighton, 22. cit., pp. 279-280.

It was not the same as before and perhaps each had a
certain premonition of what the future held. The appoint-
ment of a Lord Deputy in Ireland was imperative, but Essex
disputed every choice. In desperation he suggested himself
and Elizabeth accepted. He bungled his Job in Ireland
with slowness and indecision. After a pseudo—treaty in
Ireland, he returned to London, a disgrace in the eyes of
the court, a hero in the eyes of the public.

Essex was put under arrest and was not released
until eleven months later. He soon fell to plots and
intrigues against the Government and when the Council
demanded his attendance he refused to go to Court. Instead
his adherents had the players at Southwark act Richgrd.tgg
Sgcgnd, including in it the scene of the deposition of
King Richard which had been censored by the Government.

The next day, with a band of some hundred men, Essex

walked through the streets of London to the Strand, but
without the popular backing he had expected. The Queen's
troops appeared and Essex surrendered. He went to the
Tower on February 8, 1601. Even before his trial, there
was no doubt as to the outcome. For once Elizabeth never
hesitated in making a decision. For once Elizabeth stuck
by her original decision. The trial took place on

February 19th and Elizabeth signed the death-warrant with-
out delay when it was brought to her. On February 25, 1601,

61
the Earl of Essex was beheaded. Elizabeth, in her sixty-
eeventh year, outlived another lover.

Afterwards a romantic story was told, which made
the final catastrophe the consequence of a dramatic
mishap. The tale is well known: how, in happier days,
the Queen gave the Earl a ring, with the promise that,
whenever he sent it back to her, it would always bring
forgiveness; how Essex, leaning from a window of the
Tower, entrusted the ring to a boy, bidding him take
it to Lady Scrope, and beg her to present it to her
Majesty; how the boy, in mistake, gave the ring to
Lady Scrope's sister, Lady Nottingham, the wife of the
Earl's enemy; how Lady Nottingham kept it, and said
nothing, until, on her deathbed two years later, she
confessed all to the Queen, who, with the exclamation
'God may forgive you, Madam, but I never can!“ brought
down the curtain on the tragedy. . . . but it does
not belong to history. The improbability of its de—
tails is too glaring, and the testimony against it is
overpowering. . . . Essex made no appeal. or what use
would be a cry for mercy? Elizabeth would listen to
nothing, if she was deaf to her own heart.2

Elizabeth only lived two more years. She never sur-
vived this last shock. She suffered much during the last
days of her life and her Coronation Ring which she had
never taken off had grown into the flesh. It was filed
off and it was as though her last tie with life was gone.
On March 24, 1603 she died.

Elizabeth's character still remains a perplexing
mystery. Her life was a constant struggle from beginning
to end. A realist, she possessed abilities of statesman-

ship that amounted almost to genius. She knew the virtue

 

23 Strachey, pp..§li.. pp. 264-265.

62
of moderation and precaution. Although she always
postponed decisions, yet with tough determination she
pinched and scraped when State expenses were concerned.
Elizabeth lived only for England, but behind her appar-
ently cold and hard tactics was a warmth that manifested
itself in her relationships with Seymour, Leicester, and
Essex. Her temper was violent and sudden, changing as
quickly from outbursts of anger to displays of kindness.
Any spilling of blood, whether on the block or in war,
was foreign to her personality. Elizabeth always looked
ahead and surrounded herself wisely with an organization
of clear-thinking statesmen. She was vain in her desire
to be considered the greatest of rulers. She was a
supreme egoist, passionately desiring power, and bent on
seeing England great.

Elizabeth was dissentient, puzzling, distrust-
ful, crafty, skillful, able, circumspective, diplomatic,
and far-sighted in her political life. At the same
time she was loving, humane, clement, insecure, and
completely frustrated in her personal life. The two
lives cannot be separated. Elizabeth was fully repre-
sentative of her period and cannot be judged as queen
and woman. The two were interwoven too tightly to see

one without the other. The queen influenced the woman,

63
and the woman influenced the queen. "The country mourned
her like an orphan when she died. Her reign was a mar-

riage, and the nation was her child.'24

 

24 Anthony, .22e flies pe 258a

CHAPTER III

THE ROLE OF ELIZABETH AS CREATED
BY MAXWELL ANDERSON AND THE ACTING
SCRIPT OF THE MICHIGAN STATE COLLEGE
PRODUCTION OF ELIZABETH grip gm
A study of the psychological, sociological, and
physiolegical factors that contributed to the character
of Queen Elizabeth was necessary in order to more fully
understand her as she is seen in history. With this
background ef Elizabeth as an historical character, it
is necessary to analyze Maxwell Anderson's conception of
her in.§11§apg§h‘thg.guggn. Before considering what facets
of her character Mr. Anderson has employed in the process
of creating an acting role, a discussion of the adaptation
of historical facts is required.
Eliggbgth‘ghg.ggggg concerns the love affair of
Queen Elizabeth and the Earl of Essex, his generalship in
Ireland, and his execution. Mr. Anderson has included in
his play Lord Burghley, Sir Robert Cecil, Sir Walter Raleigh,
and Sir Francis Bacon. However, he has deleted and trans-
posed some factual material. Certain major liberties have
been taken in the writing of the play for dramatic purposes,
in order to present a more compact picture of the events

that took.place.

The play begins just before Essex goes to Ireland,

65
which was in April 1599, and concludes with his execution
on February 25, 1601. Historically, Lord Burghley died
on August 4, 1598 before Essex's venture to Ireland.
However, because Burghley represented so much of Elizabeth's
reign, he was retained as were the other historical charac-
ters. History and drama run parallel through Essex's
return and imprisonment on September 28, 1599. Here Mr.
Anderson departs from history and the play concludes with
Essex's execution. Actually, he was released in August
1600. The following February he revolted against the
Government and was again arrested and sent to the Tower.
This time Elizabeth ordered his death and on February 25th,
nearly two years after his return from Ireland, he was
beheaded.

In order to understand how Maxwell Anderson has
developed his creation of Elizabeth in the play, an analysis
of the script itself is necessary.

The main temper of the play is unquestionably one

of consistent, bitter disillusionment and cynicism.
The other characters, the statesmen who surround the
Queen-Cecil, Raleigh, Bacon-are one and all schemers
and intriguers, their actions governed only by lust
for power. To hold power is inevitably to traffic in
it and be corrupted by it, Anderson would seem to say;

the councilors of Elizabeth's court are kin to the

Continental Congressmen of Valley Fgrgg and the corrupt
legislators of Both Your Housgs.

 

1 Eleanor Flexner, America; Playggight : 1918-1938
(New York: Simon and Shuster, Incorporated, 19385, p. 91.

66

Act I opens in an entrance hall before the palace

at Whitehall. Sir Walter Raleigh and Elizabeth's Lady-
in-Waiting, Penelope Gray, present the exposition of the
play. The Earl of Essex and Queen Elizabeth have quarrel-
ed, but Essex is expected back at court that very day.
Sir Walter Raleigh makes mention of his new silver suiting.
This was an actual event that Mr. Anderson has incorporated
into the play. After Essex's successful venture to Cadiz
in 1597 there was a temporary truce between Essex and
Raleigh.

Raleigh celebrated the occasion by having made

for him a suit of silver armour; and so once more,
superb and glittering, the dangeroug man stood in
the royal antechamber at Whitehall.

Sir Robert Cecil arrives and the discussion that
ensues between Cecil and Raleigh presents a double picture--
one of Raleigh's intense dislike of Essex, and one of
Elizabeth's and Essex's relationship. Raleigh asks Cecil:

Which does she love more,

Her Earl or her kingdom?...

She loves her kingdom 3
More than all men, and always will.

 

2 Lytton Strachey, Mam gn_d Eggs: (New York:
Harcourt, Brace and Company, 1928 . p. 136.

3 Maxwell Anderson, Eli b h the ngen (New York:
Longmans, Green and Company, 1930 , p. 13.

67

r',“

All her long life Elizabeth exemplified this-her

struggle to become Queen of England, her refusals to marry,

and her jealous love of power. She placed the love of her f
kingdom first. She had never shared her power with her I
love, and it was unlikely that she would start to now.
The decision lay with Elizabeth, but indecisive and con-
tradictory as she was, Essex's enemies had reason to fear.
Cecil's statement, 'This Elizabeth of ours can be difficult
en her good days--and there have been no good ones lately“,4
further illustrates the fear they had of her undisciplined
and violent temper.

To rid themselves of Essex, Raleigh and Cecil plot
to send him to Ireland.5 Mr. Anderson has used this
historical basis to build up even more strongly the resent-
ment that existed at court between Robert Cecil and Walter
Raleigh toward Essex. Essex then enters with silver armor
fer all of the Queen's Guard. This incident has no
foundation in history, but dramatically is useful in
pointing up the forward and youthful attitude of the Queen's
young lover.

The scene that follows, between Essex and Sir

Francis Bacon, is based partially on letters that Bacon

 

‘ Ihédo, p.120

5 Arthur D. Innes, Ten Tudor Statesman (London:
Grayson and Grayson, 1934), p. 281.

68
wrete Essex, and partially on Elizabeth's personal
attitude about war.6

She is a woman and fights a womanish war....

You are loved better than

The Queen. That is your danger. She will not suffer

A subject to eclipse her; she cannot suffer it.

Make no mistake. She will not.... 7

Count not too much on the loves of queens.
Elizabeth's dislike of warlike measures, her ever-present
fear that her security might be snatched from her, her
vanity as queen, and her warmness as a lover--all of these
traits which she displayed all of her life, are pointed
out to Essex by Bacon. But Essex exemplifies the Thomas
Seymour of Elizabeth's youth-~the dashing court favourite
whe was too ambitious and too greedy for power and who
died for it. Mr. Anderson has echoed here those few times
in Elizabeth's long life when she allowed her heart to
rule her head. He underlines this feeling with the cen-
stant reminder that, in the long run, England would always
come first and the cold objectivity that Elizabeth exercis-
ed for so long would not fail her now.

The first scene of the play points out Elizabeth's

age and her desire to recapture youth with a youthful

lover, her enigmatic character, and the control she still

 

6 Strachey,.gp. git...PP. 119-122; 190-195.
7 Anderson, pp. git., pp. 19-22.

.0.

69
had over her subjects and the world. Although Elizabeth
herself is not in the scene, Mr. Anderson has succeeded
in painting a composite picture of the Queen as she was
seen by historians in her long reign--a picture of the
woman and the queen, the lover and the diplomat. He has
clearly outlined the problems of court intrigue that were
ever-present during Elizabeth's reign. He has drawn an
historically accurate blueprint of the personages involv-
ed in the intricacies of court life.

Scene 2 of Act I takes place in the Queen's study.
A short interview ensues between Essex and Penelope Gray
in which Essex declares his love of Elizabeth. Penelope
is not an historical character, but is representative of
the young Ladies-in-Waiting with whom Elizabeth surround-
ed herself. With Penelope's departure Elizabeth enters.
After a reconciliation between the two, Elizabeth shows
her violent temper and then, as suddenly, her love for
Essex. The incident is typical of their entire relation-
ship with their constant quarrels, departings, and
reconciliations. Elizabeth's lines illustrate this when
she says to Essex:
You are young and strangely winning and strangely
My hezzgegoes out to you wherever you are.
And something in me has drawn you. But this same

thing
That draws us together hurts and blinds us until

70

We strike at one another....
I think if we are to ove we must love and be silent--
For when we speak---—

The lines show what Elizabeth has seen in this handsome
youth and also the impossibility of their situation. Both
people, as history repeats time and again, were drawn to
each other. The differences and the similarities of their
personalities and positions made it impossible for them to
.meet on common ground.

Elizabeth's and Essex's discussion of war and his
success in Cadiz further illustrates the basic difference
between them. Elizabeth never sent her people to war until
it was absolutely necessary. The only great war of her
reign was the Armada in 1588 in which England won world
supremacy. Mr. Anderson's lines sum up the philosophy by
which she lived and ruled:

A campaign into Spain's pure madness, and to strike
at Flanders

At the same moment-~think of the drain in men

And the drain on the treasury, and the risks we'd
run

or being unable to follow success or failure

For lack of troops and money---£...

Never yet has a warlike expedition

Brought me back what it costi...

I have kept the peace

And kept my people happy and prosperous....

It requires more courage not to fight than to fight

When one is surrounded by hasty hot-heads, urging

 

8 Ibid., pp. 27—29.

71
Campaigns in all directions....
It's because I believe in peace and have no faith
In wars or what wars win.

It has been pointed out previously that this was
the policy that Elizabeth followed without fail. Mr. Anderson
has accurately dramatized this fundamental trait of
Elizabeth's. In this scene Essex calls Elizabeth a penny-
pincher, a coward, and a weasel queen. While standing for
the hot-blooded younger generation, Essex is contrasted
with Elizabeth to show more of her characteristic qualities.
Each accusation is true of Elizabeth's past dtalings as
queen, and each is employed by Mr. Anderson to further
round out the personality he is creating.

When their quarrel reaches its peak Essex tells
Elizabeth that she is a touchy queen. Elizabeth's sudden
reversal of temperament brings out her life as a child as
the daughter of Henry VIII.

I had bad bringing up.
§.2%°42§'°§n§“§2 ZES.§’.‘§°§2§$J“EOS°1“E ‘° b'
. .
The scene then swiftly concludes with a reconciliation

between the lovers and a warning from Elizabeth of Cecil's

plans to bait Essex into going to Ireland.

 

9 Ibid., pp. 29-51.
10 Ibid., p. 32.

72

Mr. Anderson builds the entire association between
Elizabeth and Essex as a passionate love affair. In this
scene he has deve10ped the theme of great love. He has
continued to build up the perplexity of Elizabeth's char-
acter by showing in turn her jealousy, her humor, and her
love; her love of swearing and the sudden outbursts of
temper that so characterize her; her ability as a states-
woman and her policy of peace in regard to war; and her
great wisdom and foresight.

Act I, scene 3, takes place in the Council Chamber.
The Queen, her fool, Essex, Burghley, Raleigh, Cecil, and
numerous Councillors are present. Reference is made to
the Spanish hostages. The actual event took place in 1596
when Essex returned from Cadiz in triumph and glory. The
Queen insisted that the ransoms from the wealthy hostages
belonged to the crown instead of to Essex. Mr. Anderson
has transposed historical facts and included them, at a
later date, in his play. However, the situation remained
the same. Elizabeth demanded the ransoms and then unex-
pectedly reversed and allowed Essex and his men to keep
them.

The Irish problem was the next pressing issue that
came before the Council. Tyrone's rebellion in Ulster re-
quired immediate attention and an appointment was urgent.

Essex, following Bacon's advice, suggested several of

73
Cecil's friends for the Generalship. When he found these
rejected, in anger, he offered his own services.

Opposition always tended to make Essex lose his
head. He grew angry; the Mountjoy proposal seriously
vexed him, and the renewal of Knollys' name was the
last straw. He fulminated against such notions, and,
as he did so, slipped--after what he had himself said,
it was an easy, an almost inevitable transition--into
an assertion of his own claims. Some councillors
supported him, declaring that all would be well if
the Earl went; the Queen was impressed; Essex had
embarked on a heated struggle--he had pitted himself
against Knollys and Mountjoy, and he would win.
Francis Bacon had prophesied all too truly--the
reckless man had indeed "passed from dissimulation
to verity.‘I Win he did. The Queen, bringing the
discussion to a close, announced her decision: since
Essex was convinced that he could pacify Ireland, and
since he was so anxious for the office, he should have
it; she would make him her Lord Deputy. With long
elated strides and flashing glances he left the room
in triumph; and so--with shuffling gait and looks of
mild urbanity--did.Robert Cecil.

Mr. Anderson has only changed Elizabeth's own
personal reactions to this appointment. Historically
this scene is accurate in fact. The playwright has afford-
ed himself of the opportunity to show the Queen's willing-»
ness in shifting decisions from herself to others. He has
shown Elizabeth's sly insight into political and diplomatic
problems, her control in the Council, and, once again, her
violent temper, climaxing the sequence with: “Yes. Go

to Ireland. Go to He11.'12

 

ll Strachey,‘gp. cit., pp. 192-193.
12 Anderson, 2p. citl, p. 46.

74

The remainder of the scene is pure fiction.
Although there is a romantic legend about Elizabeth giving
Essex a ring, it is quite unfounded in the annal's of
history. However, it affords Mr. Anderson with the
oppertunity to portray Elizabeth's love for Essex and
her fear of him, her foresight of what is to come, her
hesitation, caution, and her forgiving nature. Actually
it was some months before Essex departed for Ireland.
During this interim Essex gravely repented his decision,
and Elizabeth wavered between sending him and keeping
him in London. Finally she signed his appointment as
Lord Deputy and he left amid the cheers of the London
citizens. Francis Bacon later wrote:

I did as plainly see...his overthrow chained, as
it were, by destiny to that journey as it is possible
for a Ten to ground a judgment upon future contin-
gents.

Act II opens with a scene that takes place in
Essex's tent in Ireland. The playwright depicts the
deplorable situation of Essex and his army in Ireland—-
the illnesses, the losses of men, the lack of supplies
and money, and the general unrest among the troops. The
scene is heightened dramatically with the entrance of a
Courier who brings a letter from Elizabeth demanding

 

l3 Strachey, 2p. p13,, p. 198.

75
that Essex return to London to give himself up. Essex
rebels at this humiliation and determines to enter London
and take over the Government. Certain liberties have
been taken at this point with the course of history. The
Queen wrote repeatedly demanding Essex to stay in Ireland
and finish the war. However, Essex was faced with failure
with each move he made. His sudden decision to return
fellowod a pseudo-peace treaty he effected with the Irish
rebel Tyrone. The many letters that passed between Eliza-
beth and Essex are still preserved and never once did she
order his return to London.

The second scene of this act is based primarily

on the assumption that Elizabeth's and Essex's letters to
each other had been intercepted. Although historically
inaccurate, it still provides the forewarning that Cecil
and.Raleigh have the upper hand at Court and are even
capable of turning Sir Francis Bacon against Essex, his
Patron and friend. The remainder of the scene between
Elizabeth and Bacon is based partially on an actual inter-
View between the two. When Elizabeth questioned Bacon
about Essex's situation in Ireland he replied:

“Madam,” he said, 'if you had my Lord of Essex
here with a white staff in his hand, as my Lord of
Leicester had, and continued him still about you for
seciety to yourself, and for an honour and ornament

to your attendance and Court in the eyes of your people,
and in the eyes of foreign ambassadors, then were he in

76
his right element. For to discontent him as you do,
and yet to put arms and power into his hands, may be
a kind of temptation to make him prove cumbersome and
unruly. And therefore if you would send for him, and
satisfy him with honour here near you, if your affairs
--which I am not vauainted with—~will permit it, I
think were the best way.'14

Other than this historical incident the scene is primarily
plotted to indicate the emotional strain Elizabeth was
under. Mr. Anderson has used it to show her shrewd, subtle,
and cunning intellect working at odds with her strong desire
for love and tenderness. He has built in one speech all of
these characteristics and indicates the rationalization
process that she went through in forcing her mind to rule
over her heart.

I'm gone mad

Pacing my room, pacing the room of my mind.

They say a woman s mind is an airless room,

bunless and airless, where she must walk alone,

Saying he loves me, loves me, loves me not,

And has never loved me. The world goes by all

shadows,

And there are voices, all echoes till he speaks--
And there's no light till his presence makes a

light

There in that room. But I am a Queen. Where I
walk

Is a hall of torture, where the curious gods bring
all

Their racks and gyves, and stretch me

Till I cry out. They watch me with eyes of iron.
Waiting to hear what I cry} I am crying nowh-
Listen, you gods of iron: He never loved me--
He wanted my kingdom only--

Loose me and let me go! I am still Queen--

 

l4 Ipid., p. 210.

77
That I have! That he will not take from me.
I shall be Queen, and walk his room no more.
He thought to break me down by not answering--
Break me until I'd say, I'm yours, I'm all yours--
what I am
And have, all yours! That I will never, never,
Never say. I'm not broken yet.15
The entire scene was used in order to more fully
round out the character of the Queen as she existed in
history and as the playwright has created her for drama.
He succeeds in remaining true to both history and drama
and presents a believable human being undergoing normal
human emotions.
Scene 3 of Act II takes place in the Council Chamber.
It opens with Burghley and Cecil discussing the possibility
of a reconciliation between Elizabeth and Essex. News is
received that Essex's house in the Strand is full of
rebels. The events of Essex's return and his preparation
for attack on London are factual, but have been transposed
from a later date. These events actually took place in
1601 just preceding his second arrest. Besides these
treasoneus actions, Sir Gilly Merrick, one of Essex's
adherents, went to the players at Southwark.
He was determined, he said, that the people should
see that a Sovereign of England could be deposed, and

he asked the players to act that afternoon the play of
Righggd the Second. The players demurred: the play

 

15 Anderson, 22, ci§., pp. 67-68.

78

was an old one, and they would lose money by its
performance. But Sir Gilly insisted; he offered
them forty shillings if they would do as he wished;
and on these terms the play was acted. Surely a
strange circumstance: Sir Gilly must have been
more conversant with history than literature; for
how otherwise could he have imagined that the spec-
tacle of the pathetic ruin of Shakespeare's minor
poet of a hero could have nerved any man on earth

to lift a hand, in actual fact, against so oddly
different a ruler?16

This has been changed in order to show Elizabeth's
immediate reactions. In the play the two Shakespearean
actors, Burbage and Hemmings, are introduced and Elizabeth
questions them concerning their performance of the play.
Mr. Anderson deftly portrays Elizabeth's wisdom and
knowledge of her subjects, her humanenese, and her un-

canny farsightedness.

Is my kingdom so shaky that we dare not listen to
a true history? Are my people so easily led that the
sight of a king deposed in play will send them running
hither to pull the Queen out of her chair? Have we
not passion plays in every little town showing the
murder of our Lord?...Are we too stupid to see that to
prohibit a rebellious play is to proclaim our fear of
rebellion’...Let them mutter, if they will. Let them
cry out. Let them run the streets, these children.
And when they have worn themselves weary running and
crying “Up with Essexi Down with Elizabeth!" and got
themselves drunk on mutual pledges, thpy will go to
bed, sleep soundly and wake up wiser.

To contrast the more quiet and subtle emotions of

this scene, the playwright has followed it with a scene

 

16 Strachey, pp. cit., pp. 241-242.
17 Anderson, pp. 915., pp. 76-77.

79
of vivid emotional outbursts. Elizabeth's temper bursts
violently over a trivial matter concerning the Court fool
and Penelope Gray. It illustrates her sudden reversals of
temper and her ability to bring it under control just as
quickly.

Take this fool, Captain, and put him in the dark
for three days with but little bread and water. I
have a distaste for this fooling....This Mistress
Gray, take her too! Let her have bread and water!
...I am weary to death of you! I am weary of all
men and women, but more of you than any! You have
written. You have had letters! I say, take her
out of my sight! Whip them first, whip them both!
Nay, leave them here, leave them, knaves--leave
them! Damn you, do you hear me! You are too quick
to obey orders! You beef-witted bastards! And now
let us have entertainment, gentle lords! Let us bf
merry! The players are here! Let us have a play! 8
Following the interview with the players, Essex
and his men burst into the conference. The actual event
took place in the Queen's bedroom. Following his return,
Elizabeth gave Essex a day of liberty at the Court while
she found out exactly what circumstances surrounded his
sudden return. That evening she sent Essex word that he
was to be confined at York House. He was a virtual
prisoner there and at Essex House for eleven months. His
liberty then proved even more dangerous and six months

later he prepared to march with his men against the city

 

18 Ibid., p. 79.

80
of London. Essex's plans failed and Elizabeth lost no
time in ordering his arrest.

This situation, in the main, has been completely
transposed and boiled down into the one day on which
Essex returns from Ireland and bursts into the Council
Room. The dialogue that follows between Elizabeth and
Essex represents much of what these two distinct per-
sonalities must have experienced emotionally during the
year and a half that elapsed between Essex's return from
Ireland and his execution.

Elizabeth cross-examines Essex carefully, showing
much of the crafty and cautious statesmanship that she
exercised in political matters. She becomes angered
with his openly superior attitude and his candid answers.
And then she becomes soft and loving when she realizes
their letters have been intercepted. After a reconcil-
iation between the two lovers, Essex sums up his actions.

I am troubled to be dishonest.

I have brought my army here to the palace

And though it's all true what we have said--

No letters--utter agony over long months--

It is something in myself that has made me do this.
Not Cecil-~not--No one but myself.

The rest is all excuse....

If you had but shown anger I could have spoken
Easily. It's not easy now.

But speak I must. on, I've thought much of this,
Thinking of you and me. And I say this now

In all friendliness and love--

The throne is yours by right of descent and by
Possession-~but if this were a freer time,

81
If there were elections,
I should carry the country before me. And this
being true,

And we being equal in love, should we not be equal

In power as well?...

As water finds its level, so power goes

To him who can use it and soon or late the name

Of King follows where power is.19

Elizabeth's reaction to Essex is both an intell-

ectual and an emotional one. She at last objectively
looks at this dashing young courtier and recognizes the
greed of power that has completely engulfed him. She
finally realizes the real threat that he has become to
her position. As a woman Elizabeth is hurt and dis-
appointed. The psychological shock produces all of the
cold, steel-like facets of her personality to react and
she scoffs at his protested love for her and derides his
actions. Elizabeth gives Essex her promise that he will
share the realm with her, adding, 'As I am Queen, I
promise it."20 Essex's belief in Elizabeth at this
point becomes self-evident. All through Elizabeth's
long reign her word as Queen had been contradicted and
reversed many times. Essex's complete confidence in her

is evidenced by his immediate dismissal of his men. To

prove they have departed, Elizabeth calls her own guard.

 

19
20 Ibid., P. 92.

Ibid., pp. 88-90.

82

The scene then takes an abrupt shift as Elizabeth orders
the arrest of Essex and his imprisonment in the Tower.
Elizabeth's entire life is summed up in the lines she
speaks when she sends Essex to the Tower.

I have ruled England a long time, my Essex,

And I have found that he who would rule must be

Quite friendless, without mercy----without love.

Arrest Lord Essex.

Arrest Lord Essex! Take him to the Tower--

And keep him safe....

I never

Jest when I play for kingdoms, my Lord of Essex....

I trusted you.

And learned from you ghat no one can be trusted.

I will remember that. 1

The situation in which Elizabeth finds herself

duplicates itself with many others throughout her long
life. She realizes she must stand alone if she is to
succeed and learns once again that she can trust only
in herself. She places England above everything else.
It was one of the few times in Elizabeth's life that
she made a decision and did not attempt to alter it in
any way. Once Elizabeth determined that Essex should
be put on trial and be executed, she never wavered.
Although it was fifty-two years later, Elizabeth must
have seen the cycle her life had made from the Thomas
Seymour episode when she was a young Princess to the

Essex affair when she was an aging Queen.

 

21 Ibid., pe 94s

83
Although Elizabeth never saw Essex after his
initial return from Ireland, Mr. Anderson has added a
highly imaginative climax to their relationship. The
third act takes place in the Queen's apartments in the
Tower on the morning that Essex is to die.

The first part of the Anderson play was not much
more than an ably presented preparation for a splendid
and glowing last act, which borders on high tragedy.
With Essex in the dungeon and Elizabeth in her room
just over it an hour before the doomed man is to lose
his head, we are suddenly confronted with the meaning
of the whole thing, precisely as we realize in life
that the haphazard episodes which went before some
tense climax are part of a larger scheme of things
that we are pleased to call fate or destiny. And here
destiny, in the form of political intrigue, has forced
the ambitious young Duke into a position of ascendancy
over Elizabeth from which he sees with perfect clarity
that there is no possible escape....Essex becomes here
not a pitiable fool but a truly tragic figure, and
Elizabeth not a heartless tyrant but a sort of Cleo-
patra endowed with superior brains. Had Essex been
less clearminded and ambitious, had Elizabeth been
less independent or less concerned over her importance
as a ruler, a conventional happy ending would have been
imperative, and we should have lost a tragic parable.
But Essex being the sort of man Mr. Anderson conceives
him to have been, and Elizabeth being what she is here
made out to be, the answer is tragedy.

Through a number of short sequences the playwright
has been able to complete his characterization of the Queen
and to philosophize on Elizabeth's life and reign. “Her

last years were a notable comment on the emptiness of pomp

 

22 Barrett H. Clark, M 1 And rs n the Man gag
Hig Play; (New York: Samuel rench, 1933!, pp. 22-23.

84

and power.'23 Elizabeth's lines in this scene indicate

this emptiness and loneliness that she has finally come

to recognize.

And

The gods of men are sillier than their kings and
queens-«and emptier and more powerless. There is no
god but death....This is the end of me. It comes
late. I've been a long time learning. But I've
learned it ngz. Life is bitter. Nobody dies happy,
queen or no.

later, to Cecil, the Queen says:

It's your day, Cecil.

I daresay you know that. The snake-in-the—grass
Endures, and those who are noble, free of soul,
Valiant and admirable--they go down in the prime,
Always they go down....

Aye-uthe snake mind is best-

One by one you outlast them. To the end 25
or time it will be so-the rats inherit the earth.

Her words, although not historically accurate, are

indicative of all that historians relate concerning

Elizabeth's reign and the people that surrounded her.

During those adventurous and troublesome days it was the

Elizabeths and the Cecile who were victorious, while the

Lady Jane Grey's and the Mary Stuart's were beaten down.

In Eligabeth‘ghg ngen the gallant Essex is des-
treyed by the small-minded conniving men who run
Elizabeth's government;...A tragedy of two conflict-
ing lovers the Earl of Essex and Queen Elizabeth,

 

L.P.

23 John S. Jenkins, Heroin gngistory (Chicago:
Miller and Company, 18885, p. 322.

24 Anderson, pp. 913., pp. 99-100.
25 Ibid.. PP. 105-106.

85
this play is essentially a tragedy of character.
But their love relationship and its tragic climax
when Essex loses his handsome head on the block
are embedded in the treaggerous quicksands of
politics and human evil.

The final scene in the play takes place between
Elizabeth and Essex. It is a picture of an aging Queen
desperately fighting to keep the last memory of youth
and love that she possesses. And when Essex warns her
of what would happen if he were given his freedom,
Elizabeth once more becomes the imperious Queen. Essex
then turns to go to his death and Elizabeth echoes the
full realization of what their relationship has meant
to here

Then I'm old, I'm old!

I could be young with you, but now I'm old.

I know now how it will be without you. The sun
Will be empty and circle round an empty earth--
And I will be queen of emptiness and death--

Why could you not have loved me enoggh to give me
Your love and let me keep as I was?

Making no reply, Essex turns and departs. Eliza-
beth's final line is a vocalized desire of what she truly
wanted in life but found herself incapable of sharing or

81V1n8 up. 'Lord Essex! Take my kingdom. It is yours."28

 

. 26 John Gassner, M sters 2; the Drgmg (New York:
Dover Publications, 1945), p. 681.

27 Anderson, pp. cit., p. 113.
28 lbs. AL-

86

Elizabeth's last two speeches in the play bear out
the last two years of her life. They were the two most
uneventful years in her long reign and the and approached
very steadily.

She had sacrificed her private happiness when she
had not married Robert Dudley; she had sacrificed her
peace of mind when she had consented to the death of
the Queen of Scots.29

And now she sacrificed her life by sending Essex to his
death. She remained, as always, loyal to her subjects
and, while she had not broken her promise to them, life
had broken her.

Mr. Anderson, as a playwright, has brought all of
Elizabeth's long career into action during one of the
briefest moments of her life. He has portrayed her back,
ground as the daughter of Henry VIII and Anne Boleyn and
has drawn her relationship with Burghley, Cecil, Raleigh,
Bacon, and Essex. Each picture has been historically
correct and, only in minor instances, has he transposed
historical facts or changed them. The only entire scene
that has no basis is in the last act. But the lines in
the scene represent Elizabeth's reaction to the situation

and foresee her last years as history proved them to have

been.

 

29 J. Delves-Broughton, Crown Imperial (London:
Faber and Faber, LTD, 1949), p. 541.

87

Mr. Anderson has deftly shown Elizabeth as the
crafty and cautious diplomat and the intelligent yet
indecisive stateswoman. He has indicated the constant
contradictions of her nature, coupled with her violent
temper. Elizabeth's love for power and her loyalty to
her country are depicted in her policies and in her
relationship with people. Her inability to completely
trust or confide in those who are close to her is epposed,
by her love, her humanenese, and her humor. Finally, he/W
has shown her vanity, bitterness, jealousy, and selfiih- ‘
ness.

Mrs. Maxwell Anderson, in a personal letter to
the author, said of her husbands play: 'A playwright,
reconstructing the past, makes the character alive for
himself, and hopes to make her alive for his audienco.'3°

Mr..Anderson certainly accomplished this, drawing
frem historical sources, and producing an Elizabeth that
is imaginatively alive and yet true to histery. Certain
liberties were necessary, as was pointed out earlier, but
the characterization of Elizabeth is one that can be
easily accepted and believed.

 

(A

30 A.persena1 letter to Miss Mariam.A1exanian from
,Mrs. Maxwell Anderson (New City, New‘York, May 26, 1950).

vr‘

M

.w.‘ r.

r‘

rv

ELIZABETH THE QUEEN

ACT ONE
SCENE ONE

Scene - An entrance hall before
the palace at Whitehall. The en-
trance to the Council Room is
closed and four GUARDS with hal-
breds stand at either side. All
the GUARDS but one stand immobile.
This latter is pacing up and down
the corridor. There is an eff—
stage call of “Change the Guard!'
At this, the GUARD who is pacing
comes to attention. A FIFTH
GUARD enters from corridor. They
salute and change places. RALEIGH
enters from down.R.

RALEIGH: Has the Queen come forth
yet?

FIRST GUARD: No, Sir Walter.

RALEIGH: Th. Earl of Essex--is he
here?

FIRST GUARD: He is--expected on
the moment, my lord.

RALEIGH: When he comes, send me
word. I shall be in the Outer
Corridor.

FIRST GUARD: Good, my lord.
(EXitB Re)

(PENELOPE GRAY comes in down L.)

RALEIGH: Greetings, lady, from my
heart.

PENELOPE‘(With a courtesy): Good-
morrow, Lord, from my soul.

89

RALEIGH: I take my oath in your
face that you are rushing to the
window to witness the arrival of
my Lord of Essex.

PENELOPE: And in your teeth I
swear I am on no such errand--but
only to see the sun rise.

RALEIGH: The sun has been up this
hour, my dear.

PENELOPE: The more reason to
hurry, gracious knight. (Starts

to cross in front of him. He stops
her.

RALEIGH (His arm around her): Do
you think to pull the bag over my
head so easily, Penelope? On a
day when the Earl returns every
petticoat in the palace is hung
with an eye to pleasing him. Yours
not the least.

PENELOPE: I deny him thrice.

RALEIGH (Pushing her away. She
takes a step back): I relinquish
you, lady. ,Run, run to the win-
dow! He will be here and you will
miss him!

PENELOPE: Is there a lady would
run from Sir Walter in his new
silver suiting? You dazzle the
eye, my lord, with your flashing
panoper. It is more brilliant
than the sunrise I have missed!

RALEIGH (Looking himself over):
Twit me about my armor if you
will, my wench-—there is no other
like it in the kingdom-~and not
like to be.

PENELOPE: Heaven knows I have
seen none like it, and none so be-
coming.

90

RALEIGH: Is there no limit to a
woman's deception? Would you go
so far as to ap ear pleased if 1-
(He kisses her.

PENELOPE: And no deception. I
call the gods to witness---did I
not blush prettily?

RALEIGH: And meant it not at all.
Tell me, did the Queen send you to
look out the casement for news of
her Essex, or did you<eeme at the
prompting of your own heart?

PENELOPE: Shall I tell you the
truth?

RALEIGH: Verily.

PENELOPE: The truth is I cannot
answer.

RALEIGH (Quickly): Both, then?
PENELOPE: Both or one or neither.
RALEIGH: Fie en the baggage.
PENELOPE: Is it not a virtue to

be close-mouthed in the Queen's
service?

RALEIGH: If you kept the rest of
your person as close as your mouth
what a paragon of virtue you would
be.

PENELOPE: Indeed, my lord, I am.
(Crossing directly in front of
RALEIGH and courtesying.)
RALEIGH: Indeed, my lady? Have
there not been certain deeds on
dark nights?

PENELOPE: Sh! Under the rose.

RALEIGH: Meaning under covers—.-

a...

91

PENELOPE: Fie on my lord, to
make me out a strumpet!

RALEIGH: It is my manner of
wooing, fair maid. I woo by
suggestion of images-

PENELOPE: Like small boys on the
closet wall-

RALEIGH: Like a soldier-

PENELOPE: Aye, a veteran—~of en-
counters---

RALEIGH: I will have you yet, my
love; I will take lessons from this
Earl-~(He puts his arms around her)

PENELOPE: Take this lesson from
me, my Lord: You must learn to
desire what you would have. Much
wanting makes many a maid a wan-
ton. You want me not--nor I you.
You wear your silver for a queen.

CAPTAIN ARMIN (Enters from hallway.
At entrance of corridor): Good~
morrow, Sir Walter. Is the Queen
still under canopy?

RALEIGH: I know not.

CAPTAIN ARMIN: The Earl is here
and would see her.

RALEIGH: Bid him hurry if he
wishes to find her abed as usual.

PENELOPE (To CAPTAIN): She is
dressed and stirring, Captain, and
awaits my Lord. (To RALEIGH as
she goes off.) You make yourself
so easily disliked.

(CAPTAIN ARMIN signals to the
GUARDS, who go off. CAPTAIN ARMIN
goes off. RALEIGH is laughing as
CECIL enters from stairway.)

92

CECIL (Pointing up hallway): He
is here.

RALEIGH: So. The heavenly boy,
clad in the regalia of the sun,
even now extracts his gallant
foot from his golden stirrup and
makes shift to descend from his
heaving charger. Acclamation
lifts in every voice, tears well
to every eye—~with the exception
of mine, perhaps, and yours, I
hope-~-

CECIL: I am at a pass to welcome

him, myself. This Elizabeth of

ours can be difficult on her good

days--and there have been no good

ones lately.

But in truth, I no longer

Stomach Lord Essex. Every word
he speaks

Makes me feel queasy.

RALEIGH: Then why put up with
him?

CECIL (Slyly):

The Queen, my friend. What she
wants,

She will have,

And she must have her Earl.

RALEIGH:
Which does she love more,
Her Earl or her kingdom?

CECIL: Which?

RALEIGH:
Then you're less sapient
Than I've always thought you, Cecil.
She loves her kingdom
More than all men, and always
will. If he could
Be made to look like a rebel,
which he's close to being---
And she could be made to believe
it, which is harder,

93
You'd be first man in the Council.
CECIL: And you would be?

RALEIGH:

Wherever I turn he's stood

Square in my way! My life long
here at court

He's snatched honor and favor
from before my eyes--

Till his voice and walk and
aspect make me writhe---

There's a fatality in it!

CECIL:

Had it ever occurred to you that

If he could be sent from England--
there might be a chance

To come between them?

RALEIGH: Would she let him go?

CECIL:

No--but if he could be teased

And stung about his generalship
till he was

Too angry to reflect-- Let us say
you were proposed

As General for the next Spanish
raid?

RALEIGH (Very quickly):
He would see it.
And. '0 'Ofld Bh'e

CECIL:
Then if you were named
For the expedition to Ireland?

RALEIGH:

No, I thank you.

He d let me go, and I'd be sunk
in a bog

This next three hundred years.
I've seen enough

Good men try to conquer Ireland.

94

CECIL:

Then how would this be?

We name three men for Ireland of
his own supporters;

He will oppose them, not wishing
his party weakened

At the court. Then we ask what
he suggests

And hint at his name for leader--

RALEIGH: Good so far.

CECIL:

He will be angry and hint at your
name; and you will offer

To go if he will.

RALEIGH: No. Not to Ireland.

CECIL (Topping him):

Yes!

Do you think he'd let you go with
him and share

The military glory? It will go
hard

Having once brought up his name,
if we do not manage

To ship him alone to Dublin.

RALEIGH:
We can try it. then,
Always remembering that no matter

what

Is said--no matter what I say or
you--

I do not go. You must get me out
of that,

By Christ, for I know Ireland.
CECIL: I will.
RALEIGH: When is the council?
CECIL: At nine.

RALEIGH: You'll make these
suggestions?

CECIL: Yes.

95
RALEIGH: At nine, then.
CECIL: Be easy.

(Two GUARDS enter from hallway
with silver armor in their arms.
They come only as far as the en-
trance.)

RALEIGH: And what is all this,
sirrah?

FIRST MAN: Armor, my lord. From
my lord of Essex.

RALEIGH: For whom?
FIRST MAN: We know not.

RALEIGH: New by the ten thousand
holy names! Am I mistaken, Robert,
or is this armor very much like

my own?

CECIL (Touching armor): Very
like, I should say. Is it sterl-
ing? .

RALEIGH: And the self-same
pattern. Has the Earl gene
lunatic?

(BACON enters and stands in door-
way.)

CECIL (To RALEIGH): He means to
cutehine you, perhaps.

RALEIGH: Has it come to this?
Do I set the style for Essex?
That would be a mad trick-to
dress himself like me. (Crosses
to down L. and sees BACON.) What
do you know of this, Sir Francis?

BACON: They are Greeks, my lord,
bearing gifts.

96

RALEIGH:

To hell with your Greeks!

The devil damn him! This is some
blackguardy.

(Turns away from BACON and two

more GUARDS enter from hallway,

carrying armor.)

There's more of it!

(Still two more GUARDS enter,

carrying armor.)

Good God, it comes in bales!

I say, who's to wear this, sirrah?

Who is it for?

(ESSEX enters from hallway between
the two files of GUARDS, pushing
them aside as he does so, and
crosses down to RALEIGH, speaking
as he enters.),

ESSEX:

Their name is legion, Sir Walter.
Happily met---

Felicitations on your effulgence,
sir.

You're more splendid than I had
imagined! News came of your
silver

Even in my retreat! I was ill,
and I swear it cured me!

RALEIGH: I'm glad you're well
again, my lord.

ESSEX:

You should have heard the compli-
ments I've heard

Passed on you! Sir Walter's in
silver! The world has been out-
done

They said-the moon has been out—
mooned.

RALEIGH: You need not trouble to
repeat them.

ESSEX:
The Queen herself has admired it--
the design----

97

The workmanship----

And I said to myself- The great
man--this is what we have
needed--

More silver everywhere-oceans of
silver!

Sir Walter has set the style, the
world will follow.

So I sent for the silver-smiths.
And by their sweet

Here's for you, lads, tailored to
every man's measure--

Enough for the whole Queen's
Guard.

Shall Raleigh wear silver alone!

Why, no--the whole court shall go
argent!

RALEIGH (Crossing to ESSEX):
Take care, my lord. I bear in-
sults badly.

ESSEX:

And where are you insulted?

For the Queen's service you buy
you a silver armor.

In the Queen's service I buy you
a dozen more.

A gift, my friends, each man to
own hi. one

As you own yours. What insult?

RALEIGH:

Have your laugh,

Let the Queen and court laugh with
you! Since you are envious

You may have my suit. I had not
thought even Essex

Bore so petty a mind.

ESSEX:

I misunderstood you,

Perhaps, Sir Walter. I had suppos-
ed you donned

Silver for our Queen, but I was
mistaken--

Keep these all for yourself. The
men shall have others--

Some duller color.

FIGURE 1

Act I, scene 1.
'He is going to the Queen, remember.
And we have an appointment.“

 

 

98

RALEIGH:

I have borne much from you

Out of regard for the Queen, my
lord of Essex--

ESSEX: And I from you--
RALEIGH: My God--

CECIL:
You have forgotten, Sir Walter
A certain appointment--

RALEIGH: And you will bear more,
by Heaven!

CECIL:
He is going to the Queen,
.Remember. And we have an errand.

ESSEX:
You presume to protect me,
Master Secretary?

CECIL:

I protect you both, and our
mistress.

There can be no quarreling here.

RALEIGH: That's very true. Let
us go. (Both bow. RALEIGH goes
out L. CECIL stops a moment, bows,
then follows.)

ESSEX (To GUARDS): Go. Follow your
bright example. (The GUARDS go
off.

BACON: And this armor? What be-
comes of it?

ESSEX:
I have given it.
Would you have me take it back?

BACON:

There has seldom been

A man so little wise, so headstrong,
but he

99

Could sometime see how necessary
it is

To keep friends and not make en-
emies at court.

But you-God knows.

ESSEX:

Let him make friends with me.
He may need friends himself.
(Crossing toward door L.)

BACON: You are going to the Queen?
ESSEX: Yes. God help us both.
BACON: Then hear me a moment--
ESSEX (Crossing back to IACON):
Speak, Schoolmaster Bacon,

I knew it was coming. You've been
quiet too long.

BACON:
Listen to me this once, and listen
this once

To purpose, my Lord, or it may
hardly be worth

My while to ever give you advice
again

Or for you to take it. You have
enough on your hands

Without quarreling with Raleigh.
You have quarrelled with the
Queen

Against my judgment.

ESSEX:

God and the devil! Can a man

Quarrel on order or avoid a
quarrel at will?

BACON: Why, certainly, if he
knows his way.

ESSEX: Not I.
BACON:

You quarrelled with her, because
she wished to keep peace

100
And you wanted war--

ESSEX:

We are at war with Spain:

But such a silly, frightened,
womanish war

As only a woman would fight-

BACON: She is a woman and fights
a womanish.war.

ESSEX: But if we are at war, why
not let some blood--

BACON:

But ask yourself one question and
answer it

Honestly, dear Essex, and perhaps
you will see then

Why I speak sharply. You are my
friend and patron.

Where you gain I gain-~where you
lose I lose--

And I see you riding straight to
a fall today--

And I'd rather your neck weren't
brOkOne

ESSEX:
Ask myself
What question?

BACON:

Ask yourself what you want:

To retain the favor of the Queen,
remain

Her favorite, keep all that goes
with this,

Or set yourself against her and
trust your fortune

To popular favor?

ESSEX: I'll not answer that.

BACON: Then-~I have done. (Start
off up hallway.)

ESSEX (Stopping him, crossing back
to BACON):

101

Forgive me, dear friend, forgive
me.

I've been ill of mind, and this
silly Jackanapes

Of a Raleigh angers me with his
silver mountings

Till I forget who's my friend.
You know my answer

In regard to the Queen. I must
keep her favor.

Only, I cannot endure--it maddens
me--her everlasting dilly-
dallylng.

This utter mismanagement, when a
man‘s hand and brain

Are needed and cannot be used.

BACON:

Let me answer for you:

You are not forthright with your-
self. The Queen

Fights wars with tergiversation
and.ambiguities—-

You wish to complete your record
as general,

Crush Spain, make a name like
Caesar's,

Climb to the pinnacle of fame.
Take care,

You are too popular already. You
have

Won at Cadiz, caught the people's
hearts,

Caught their voice till the
streets ring your name

Whenever you pass. You are loved
better than

The Queen. That is your danger.
She will not suffer

A subject to eclipse her; she can-
not suffer it.

Make no mistake. She will not.

ESSEX: And I must wait--hold my-
self back-~-

BACON: Even so.

.Le‘s

102

ESSEX:

Why? I come of better blood than
Elizabeth.

My name was among the earls around
King John

Under the oak—-—
What the nobles have taught a king
A noble may teach a queen.

BACON (Quickly and forcefully):

You talk treason and death.

The old order is dead, and you and
your house will die

With it if you cannot learn.

ESSEX:

So said King John

Under the oak, or wherever he was
standing.

And little he got by it, as you
may recall.

What the devil's a king but a man,
or a queen but a woman?

BACON:

King John is dead; this is
Elizabeth.

There is one man in all her king-
dom she fears, and

That man's yourself, and she has
good reason to fear you.

You're a man not easily governed,
rebellious,

Moreover, a general, popular and
acclaimed,

And, last, she loves you, which
makes you the more to be
feared,

Whether you love her or not.

ESSEX: I do love her. I do.

BACON: My lord, a man as young
as you--

ESSEX:
If she were my mother's kitchen
hag,

105

Toothless and wooden-legged, she'd
make all others
Colorless.

BACON: You play dangerously here,
my lord.

ESSEX:

I've never yet loved or hated

For policy nor a purpose. I tell
you she's a witch--

And has a witch's brain. I love
her, I fear her,

I hate her, I adore her---

BACON:
That side of it, you must know
For yourself.

ESSEX:

I will walk softly--here is my hand.

Distress yourself no more-~I can
carry myself.

BACON: Only count not too much on
the loves of queens.

ESSEX: I'll remember. (RALEIGH
enters down L. and starts to cross
up to hallway. He sees ESSEX and
stops. He is wearing ordinary
clothes, having dispensed with his
armor. ESSEX crosses to RALEIGH.)
What: Have you thrown your silver
in the mud
After your cloak, Sir Walter?
Take care!
Take care! She stepped on your
cloak to some purpose,
But on your armor, she might slip.

(ESSEX crosses L. and goes off.)

CURTAIN

ACT ONE
SCENE TWO

Scene - The QUEEN'S study. It is
a severe little room. In the
upper L. corner is a chair. Down
C. is a desk with a chair on
either side. There are entrances
both down L. and down B. On the
desk are various state papers,
some books and a deck of cards
and a calendar. PENELOPE is seat-
ed on the chair L. ESSEX enters
R.

PENELOPE: Good-morrow, my lord.
(She courtseys.)

ESSEX: Good-marrow, Penelope.
Have I kept the Queen?

PENELOPE: Would I acknowledge
Her Majesty would wait for you?

ESSEX: I commend me to your dis-
cretion.

PENELOPE: Only to my discretion?

ESSEX: Take her what message you
willo-only let it be known that I
am herae

PENELOPE: May I have one moment,
my lord? She is not quite ready.

ESSEX: As many as you like. What
is it, my dear?

PENELOPE: Do you love the Queen?

ESSEX: Is that a fair question,
as between maid and man.

PENELOPE (Very quickly): An
honest question.

ESSEX: Then I will answer honest-
ly. Yes, my dear.

105
PENELOPE: Dearly?
ESSEX: Yeas

PENELOPE: I would you loved some-
one who loved you better.

ESSEX: Meaning--whom?

PENELOPE (Not looking at him):
Meaning--no one. Myself, perhaps.
That's no one. Or---anyone who
loved you better.

ESSEX: Does she not love me,
sweet?

PENELOPE: She loves you, loves
you not, loves you, loves you
not—--

ESSEX: And why do you tell me
this?

PENELOPE: Because I am afraid.
ESSEX: For me?

PENELOPE: I have heard her when
she thought she was alone, walk
up and down her room soundlessly,
night long, cursing you--cursing
you because she must love you and
could not help herself-~swearing
to be even with you for this love
she soorns to bear you. My lord,
you anger her too much.

ESSEX: But is this not common
to lovers?

PENELOPE: No. I have never cursed
you. And I have good cause.

ESSEX: But if I were your lover,
you would, sweet. So thank God I
am nOte

fiscal; momenfit_on plat-

_-.-_w-.

r'Ox'm U.1m..-lo'ok'at him

and cross 0. to L. of
ESSEX.._,E;tend right
hand tonbe kissed.

ESSEX continue to hold
her hand. Look down
“--_.13_i_!.-b9y9d head-

106

PENELOPE: I'll tell her you are
here. (She starts to go off,
then turns and comes to him. She
lifts her face to be kissed. He
kisses her.) Will you beware of
her?

ESSEX:

Lover, beware your lovern- That's
an old song.

I will beware.

PENELOPE: For I am afraid.

ESSEX (Kisses her hand): Thank
you, my dear. (She goes off.
Two LADIES—IN-WAITING enter and
hold the draperies back.)

FIRST LADY-IN-WAITING; Her Majesty.

(ELIZABETH enters. The two LADIES-
IN-WAITING go out.)

ELIZABETH:

Whenswe met last_it_was, as I
remember,

Ill-met by moonlight._sirrah.

ESSEX (who has knelt before her
entrance and who now takes her
hand and kisses it):

Well-met by day,

My Queen.

ELIZABETH:

Ethad hardly hoped to see you again,

My Lord of_Essex, after what was
Eowed

Forever when you left.

ESSEX:
You are unkind
To remind me.

ELIZABETH:
I think I also used
The word forever, and meant it as

Release hand from him.
TurnlL.msllghi11.dangry.

 

Turn_R., face him.”p

 

_.-—.__-—a..‘.-a_._. -.

Iggslhsrgaslé..uteunt-
1ssl1.,leushinsly.
Turn.olook-gt him, imi-
Eyeing sesturea the
silverwarmor.

85.132- 39. his R. ..Lsush.
more interested.

107

eughlnstuleast—--

Therefore._no apology. -iny my
Penelope

ngggd’me just nowmwith eyes and
lips

That looked the softer for kiss-
ing- --lenot .sure

“Bu "Tim inopportune.

ESSEX: She's a crazy child.

ELIZABETH:
These children

fiszastheirilittleswazs.with-each
other:

ESSEX:

Must we begin

With charges and counter-charges,
when you knowa--(He rises.)

ELIZABETH:

Do I,_.in_des_d?

You have gone a week. at this
Wanstock of yours---

And a weckiyse lasshtiag a; court.

‘—Y3u forget that I

Mustalivewandsdrawmbreath-whether

I see_you or not---

And there are other men all fully

Equipped for loving and being
loved:

You find Penelope charming. And
as for me

There's always Mountjoy-~or Sir
Walteree-thenhandsome,

Sir Walter, the silver-plated--~

ESSEX:
He'll wear no more
Silver at your door.

ELIZABETH:
Whatwhavedyeumdonereceme.utellume.

I.knewmthishsilxermwould.drawsfire.
What happened?

 

ESSEX: Nothing. But the fashion's
gone out.

Laughing heartily.

After line, he moves
directly to her. Both
look intently at each
other a moment, then
longgembrace.

Slight tinge of sar-
cgsm and teasing.

Still teasing him.

.Laugh. pleased over
bgiting him into anger.

Cross to desk C. and
look‘athalendar.
Then, cross D.L.

.Come some day when I'm in

108

ELIZABETH: No,mbut tell me:

ESSEX:

He was unfortunate enough to be
in the way when the upstairs
crock

Was emptied. He has gone to
change his clothes.

ELIZABETH:
Youwshall not be allowed
To do this to him---

ESSEX: (Moving toward her):
You shall not be allowed
To mock me, my Queen.
(Kisses her.)

ELIZABETH (After the kiss):

Isn't it strange_how one man's
kiss can grow

To be like any other' s---or a
woman's

To be like any woman's?

ESSEX:

Not yours for me,

No, and not mine for you, you
lying villain,

You villain and queen, you double-

tongued seductress,

You bitch of brass:

ELIZABETH:

Silver, my dear.

Albitch of silver.
ofuRaleigh.

Let me be
.It reminds me

ESSEX (Releasing her angrily and

crossing R.): Damn you:

ELIZABETH:

Damn you. And double-damn you for
a damner.

Damn him, not me.

the mood.
What's today? ‘ ““ “

gz-Thursday? Try next Wednesday---

,J

I"
Isl

a.-
I"

s ,
\qs‘
UJUI

ElEPBEEElm9?£:§§an_H .

manner.

Turn R., look at him.

Lug}.a9shins..-_ .,

Sober.nthoushtfu1.

Hurt, showing desire
fogihim.

Attempt to apologize_-w

auélsng_him.yhat his
awagaaem ..to her-

Cross U.C.ito.chair_

L.-endisit.mnflead,1n '

hands, wanting him
toilesyo snd stay at
the_same time.

_ELIZABETH:

_.ELIZABETH:

ELIZABETH:

109

,, or any Wednesday

Latef"on“in the summer----any
**"summer

Will do. Why are you still here?

ESSEX (Turns toward door R.):

Oh, God, if I could but walk out
that door

And stay away:

It'annot_locked.

ESSEX:

But I'd come back!

Where do you think I've been this
last week? Trying,

Trying not to be here.
see, I am here.

But you

Yes,_I see.-

ESSEX (In front of desk):
Why did you plague me without a
word?

Why did you not come?

ESSEX:

You are a Queen, my Queen.

You had prescribed me-elet it be
known I would

Not be admitted if I came.

ELIZABETH:
I may have meant it_at the time.

ESSEX:
I think I have a demon, and you are
it.

..ELIZABETH:

If ever a mocking devil tortured
a woman

You're my devil and torture me!
Let us part and quickly,

Or_there'll_be_worse to come. Go.

ESSEX: I tell you I will not.

Speak softly and
kindly, extend arms
for him to come to
her.

Take his_face in her_
hands. Look loving-
1y_atmhlme

A warning to him, but

spoken sincerely.

Attempt to convince
him of the danger in
their relationship.

 

Amara“: tizteebody.

110

ELIZABETH:

Come to_me..my Essex.

(ESSEX crosses and kneels at her

R. He uts his arms around her

waist.

Let us be kind

Edna, moment.-- -I-will be kind.
You need not be.

You are young and strangely winn-
ing and strangely sweet.

My heart goes out to you wherever
you are.

And something in me has drawn you.
But this same thing

That draws us together hurts and
blinds us until

We strike at one another. This
has gone on

A_long while., It grows worse with

the years. It will end badly.

Go, my dear, and do not see me
again.

ESSEX:

All this

Is what I said when last I went
away.

Yet here I am.

ELIZABETH:
Love someone else, my dear.
I will forgive you.

ESSEX:
You mean you would try to forgive
me.

ELIZABETH:
Aye, but I would.

ESSEX:

What would you have to forgive?

I have tried to love others. It's
empty as ashes.

ELIZABETH:
What others?

Madison--- __

EEEELLEQE§$ngbim
aw 2.

Rise p_sh him f_rom_ _
her. He rises tee.

 

.§E$ll_3983¥enww“.w

Arrogant.

-——e— ‘DH—V vai V '

 

Soften, look down as

 

though afraid to look

him straightin the
face.

 

Releasefiherself anL
cross-D. C” by deskL

* a... “a.-.

111
ESSEX: No one.

_§LIZABETH= What others?

ESSEX: Everyone.

_ “ELIZABETH: Ezgglone?

ESSEX:

That too has been your triumph:
What is a cry

Of love in the night, when I am
sick and angry

And care not? I would rather hear
your mocking laughter---

Your laughter--mocking at me--
defying me

Ever to be happy---

_ ..ELIZABETH= ¥QE__BA!§,_J19A.E-.£11.19 to

291.

ESSEX:

You have done this to me! You've
made it all empty

Away from you: And with you too!

ELIZABETH: And me--What of me

' “““wh_ile you were gone?

ESSEX (Crossing back to her and

taking her in his arms):

If we

Must quarrel when we meet, why
then, for God's sake,

Let us quarrel. At least we can
quarrel together.

MELIZABETH:

I think if we excite love we must
19!9 and be silent~--
For_wheniwe Speak---

ESSEX:
I'll be silent, then.
And you shall speak~~—

ELIZABETH:

"“"Shhh!

Gently trying to end
discussion.

Laugh.s.fi.ands.him-aar§s a

1192-91.98.11.

Both_aettlesbackpin
chairs, begin sorting
cardsl ELIZ. glance
over his shoulder at
his cards and compare

them with her own.
Garry on.conxsraation
intellectgally and
calmly. impIywtaIkp
situation_o1erswhile
Plylwcl, same .

ELIZ. indlggtg withhrm,_

95.... —

112

ESSEX:
If you would sometimes heed ne--

ELIZABETH:
Shfih: ‘

ESSEX: Onl sometimes-- (Gross R.
above desk.‘

_ ELIZABETH:

Shhh!

ESSEX (Taking cards from her and

crossing R. of desk and sitting.

Deal cards):

Only when I'm right-~1f you would

Say to yourself that even your
lover might be

Right sometimes, instead of flying
instantly

Into opposition as soon as I
propose

A shift in policy:

,lELlZABEIHfi

S_twyou were wrong.

A 9g mpg igp~into Spain' 5 pure mad—
new grammar;

At_the_same.momentzzthink of the
drain in men

And_the.drain.9n the treasury. and
the risks_gglgmrun

Qr__he_1_ns-_unahl.e-.tp..- 1.9.1.19" success
or_failure

For lack of troops and money---£

ESSEX (Turn in and look at her):

But why lack troops---

And why lack money?

There's no richer country in
Europe

In men or money than England! It's
this same ancient

Unprofitable niggardliness that
pinches pennies

‘_And wastes a _wg§;d of treasure: You

could have all Spain,
And Spain's dominions in the new
world, an empire

‘ '3‘

AI

E§$§-plan£1rst card...

Play card.

 

.mm o

Play card, take trick
EEIZT look at trick,
settle back and look
hand over again.

 

Ladigstsmit'a.her turn
mm .

She plays first.&szg--
QI_second_triek

§lap card downimw

 

Angrily throw cards

onefloor in front or
dfiako

3.9.5.325 «denizens - .
them_tohher.

Take c_ards and_ sort_
them:_

Ela1_sndhquickly_.take
trick _

Hulaxs ~first card
or third .3134cks --

__ESSEX:

115

Of untold wealth-and you forego
them because

_ .You tear...“tohlszuqewhtaxeel

ELIZABETH:

InhaVQ_Irled that---

A94 never yet has a warlike ex-
Dedition

Brought me back what it cost'

_ -u---oyw.- .-

You've tried half—measures---

Raids on the Spanish coast, a few
horsemen sent

Into Flanders and out again, always
defeating

. Yourself by tryingmtoo little: What

I plead for
Is to be bold once, Just once,
give the gods a chance

“mmIQ_D§-k1nd.tguus—e-walk through

this cobweb Philip

And take his lazy cities with a
storm

or troops and ships!

If we are to trifle we might better
sit

-At 9.0.19.0. .fhorsYer! ..and...rot:

-¢—-—-.o-n-.-u-—-.- 4n ‘

. ELIZABETH:

Here we sit then,
Andmrot; as you put it.

ESSEX:
I'm sorry---

_ ELIZABETH:

It seems to me

We rot to some purpose here.” I
have kept the peace

And kept my people happy and pros-
perous. They

Have had time for music and poetr --

ESSEX:
And at what a Pr1¢°--'
What ahcowardli pricei,

Qalm down,wbegin to.“
think_m9relgfmcard
game again.

Play card.

—-—.—.— n—p-O ,

Play_oarduon_last line.
As he reaches for it,
shevdoeawxaqaufihe_takes
it.althoughsitis.notwm"
her trick.

Take trick and lean in

—"Ih-— —-.

114

WELIZABETH:

I am no coward, either.

Itnrequires more_courage not to
fight than to fight

When one is surrounded by hasty
hot-heads, urging

I'Campaigns in all directions.

ESSEX:

Think of the name

You will leave--- They will set
you down in histories

As the weasel queen who fought and
ran away,

Who struck one stroke, preferably
in the back,

And then turned and ran---

ELIZABETH:

Aid..-

over_ table,_ look squaré- Is it my fame you think of,

ly at him. Shrewd,
knowing attitude.

Elsl_firsj_nard of
this trick,

4s thpughmexplaining
it_tomhimsforathe
hundredthutime.
Patiently. Flay card.

 

Forgetting card_game,_h_

0r__your own, my lord? Have you
notibuilt your name

High enough? I gave you your
chance at Cadiz ,

And you took it, and now there's
no name in_all England

Like yours to the common people.
When_we ride inmthe streets

It's Essex they cheer and not
their Queen.

What more would you have?

ESSEX:

Is it for

This hollow cheering you hold me
Hiback from.$pa%n?

ELIZABETH:

It{s because_I_believe in peace,
and have no faith

In_wars or what were win.

ESSEX:
You do not fear me?

ELIZABETH:
I fear you, too. You believe
XQEEEQAf

FIGURE 2

Act I, scene 2.
'Yeu believe you'd rule England
Better because you're a man.“

 

 

Try kindly to show him
how_ faIse fl latteryIis

and how foolish he is
to museum It.

L where PENEL-
OPE went off.
Lean over desk and lay_
down cards In Hand

..-_ _-.—

with tricks taken in.

“-0 M- ---.—.._...~

Pi_ck gIl _up.

 

 

 

ELIZ. sit straight up,
stiffly In chair, be-

c_.—-.._.__~.—-—..- -

001.11}an angry.

EIe e1, throw cards in -~

his face. Iurn, metalk‘
L, ESSEX kneel, pick
gardfi up, put on desk.
mmigok g1; him
..EEEIZ:

Look atIhImfla moment
rgIax,mIaugh hearti-
1y. Cross U. 0. above

desk onto_platform.

guddenlznzatl.eerious.

115'

Fitter to be king than I to be
queenT' You are flattered

By this crying of_your name by
foolsT h._You.trust.mewno more

IhanIyon_d_jzns1==Penelope--
or any other woman

 

 

--.- - L”... a.

To be in owerI_ You belisyehyou'd
ruI e M_g _an§ better

Because you re agman.

ESSEX:

That last is true. I would.

It's because I love you that I
can see

Wherein you fail--and why you fail
and where

You fail as sovereign here. It's
because

You cannot act and think like a
lane

alumna:

§x__nd+allllwmaksnyounaorry

Famine” yardage: and th__i...nk
like_a~man—--'

11.11. shouId LjhinkJiks a nan

whenuamwomanls.thinking“:
wiser?
What <19,-y_911..nIan3_19.-taka.oy_er

the kingdom, deggggflgg?

ESSEX (Smiling):
You are a touchy queen.

ELIZABETH.

I nadlbsihringinann.

I was new menthol: mother. was
going.to.be

Nut. dam. Mahala.

ESSEX (Cress up to platform):

You' re your father's daughter.

I'll swear to that. I can tell
by your inconstancy.

IEJJMEEHEI=

 

I_1Ish you had need

Io_fsarlit:=29r.at_any cateejhat
ILd.neInr

Lotion. ,s Q§__..h.0_‘!- mu 9.1.1.1 ?.a.-_19.ura .

are raw 9L“ n 0M w.“ e__hv-.HN -5.“ \u. n: - 1 s\ {M1 a: be I». ..us A: a 5C...
Li“ H a! , . Adv aft £19. t .hv A»! Q. and. slkti.‘
a uh “I ul. 8" .. h‘ l . . . I u y i ,
sewn 2D.P._IH ll luwb girl.“ .356 HunJL-h sue IQ alien I... n... «b
s
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I
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s
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r e
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-
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.
.
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. _
O I l.
D 01‘
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3s
s
s 3
l
.
e
I.
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D

Holds out her_handsmto _____
him..Heicrosses to her,
takee_her_in his arms.

--h

30 arraid or bein8-i.__u
bartendaflloaéns
himhthatushemrinally
mustIspeak to be re-
agggred or his love.
Qggmggr slight note

or plea ing. Sincere,
kAQQ LMQPQ l071n8-

Look at him a moment,
then turn L- Cross to
chair -.. by window.
Qn_1aet .line turn to
him. Calm, but with
inght edge of cold-
ness. Forswarning or
fitione -..at. ..end ...of Act

Iskaih_e.z:__.1.n-,hia .-armsmm
again._$peak with hes-
itance and_misgiving
that it mggtmge said.

116
ESSEX: But why?

ELIZABETH:
Tell me. my dear.

evlittle?
ESSEX: Never.

ELIZABETH:

But you'd have to say that, you
can see--—

You' d have to say it, because you
wouldn' t hurt me,

And because I' m your queen. And
so I‘ 11 never know

Until everyone else has known and
is laughing at me,

When,IJve.lnst_you.

(He starts to speak.)

WaitLIIet me say this,_please--

When the time

Does come, and I seem old to you-

ESSEX (Holding her closer to him):
You are not old. I will not have
you Olde

ELIZABETH (Continues):

---and,you_love.

Someone else. tell me. tell me
the firstc--

IflIllIyou do that. in all kindness,
in_memory

Of a great love paet?_ No._ You
could not, Could not.

It' senot_in a man to be kind that
way. nor in

__4 woman to take it kindIy.I I

think I'd kill you.
In a_rirst blindrage.

ESSEX (Crossing to her):
Kill me when I can say it.

ELIZABETH:

Love. -wilLyoulet me

Say one moremthing that will hurt
you?

SpeAKEIazmlxmto.sottennl

shackitor_ESSEX.

Quickenwtempo_ on _last
two Iines.

Slow down tempo

gradually as she tries "

ta_ss2la1n_herareaeonr
158_§Q,§;99-

Eut_hand_on his arm.
Speak firmly Iand der-
initely,_ without any
hardness, to convince
him of danger.

Quietlyrinmcontraet-.
tflmgr s

.”_¥ou'll ask to go.;

117
ESSEX (Kisses her hand):

ELIZABETH:

Your blood's on fire to lead a
new command

Now_ that you've won so handsomely
in Spain

And when I need a general anywhere

Don't ask it--

Anything.

" and don' t go. ’
You' re better here in London!

ESSEX (Breaking away from her):
Was this all you wanted?
To make me promise this?

ELIZABETH:

got for myself,

I swear it, not because I_think you
reckless

With men and money,mth9ugh IIdo
thinkflthat,

Not_because you_might return in
too much triumph

AndItake my_kingdom from me,
which I can imagine,

And not because I want to keep
you here

And hats to risk you._though that's
also_true---

But_rather—-and,ror this you must
forgive me-—

Because you're more_a poet than a
generale--

And I fear you might fail,L and lose
what_youmhaveugained,

It_youlwent.again.

ESSEX (Crossing R. above chair R.
of desk):

God's death! Whom would you send?

.ELIZABETH:

IIasked you not tpoe angry.

ESSEX:
Not to be angry!
How do you Judge a leader except

F311

‘_
It."
Ill-n

:IZI‘
w

“A.

‘l 1
51.:
U

a:

Folgghands and look
_$till calm.

Extremely sincere and

warm, extend hand__
slightly to him.

NWH,,himiw._
$992-9.01I- in ,complete

con trol."

118

by whether
He wins or loses?
(Turn and look at her.)
Was it by chance, you think,
That I won at Cadiz?

_.ELIZABETH:

Yerxnwellm _ _You.-sha11 go .

Go if you will. Only I love
you, and I say

 What would be wiser.

ESSEX:

You choose the one thing I must
have

And ask me not to ask it! No.
Forgive me.

WELIZABETH:
_I_'_l.;.._r;9Laay,.itzmagain.

ESSEX (Crossing to her, calmer

now):

But if I'm more poet than

General, then posts, on occasion,
make better generals

Than generals do.

Madagmhiurms ._...__ ELIZABETH:

smiling with him.

 

Both look off R. tat“

sound of CRIMES.

 

Look at him, almost
afraid there. 11. be
W199”? 910

complete relief and

 

“legga

You've proved it so

On more than one occasion.
(The CRIMES strike nine. There
are four offstage CALLS or “The
Council is met'

Now we shall hear about_Ireland.

It__ Cecil has his way.” One thing
remember,

You must’hOE go to Ireland.

ESSEX:

No. That's a war
I'm content to miss.

pm.meLIZABETH:
relaiation. Cautious,

Thank God for that much.flthen.
I' ve been afraid

Ireland might tempt you. “And
wilI_youtunderstand--‘

FIGURE 5

Act 1, scene 2.
“Now what can come between us ,
out of heaven or hell, or Spain or England?”

 

WW
5,12

Mn-
'J‘r

F"
l‘.
. l:-_‘

~VI
L

‘1'
eb04

m

m

Laugh, seeing his

anger start to rise.“"””

Putjrmmarqund him.....-_,.

Relaxed, happy, and
completely warm.

 

He kisses_her.flwumu

 

ELIZABETH and ESSEX,
still kissing, pay no
attention to PENELOPE,
who_turnewandizoee off.

119

I'll have to oppose you on

The Spanish hostages-—- You'll
‘“ have your way---

But I'll have to oppose you.

Will youunderstand---?

ESSEX (Taking her in his arms and
holding her close to him):
I'll play my part perfectly.

,ELIZABETH:

Now what can come.between us, out
of heaven or hell,
0r Spain or England?

ESSEX:

”Nothing-u-never again.
(PENELOPE GRAY enters from L. She

stops in the entrance.)

PENELOPE (Courtseying):
Your Majesty, the Council's met.

CURTAIN

“33

it

-
lbs
»

u...

1199);, at“ ESSEX; V}. th... -... .-

slight me. oi‘"‘e'
Hal-Loafing”.

ACT ONE

SCENE THREE

Scene - the Council Chamber. It
is a large room with entrances
down L. and down R. respectively.
Up L. in the room is a two-stepp-
ed platform, on the top of which
is a chair of state. Stage 0..

on stage level, is a long council
table with chairs. The QUEEN is
seated in her throne, holding her
ball and mace. ESSEX is at the R.
end of table and CECIL at the L.
The other COUNCILLORS are seated
at the table, from L. to R., as
follows: RALEIGH, BURGHLEY, FIRST
EXTRA COUNCILLOR, SECOND EXTRA
COUNCILLOR. The FOOL sits cross-
legged on a pillow on the top of
the platform at the QUEEN'S L. As
the Curtain rises there is a gen-
eral ad lib. among the COUNCILLORS
which ELIZABETH interrupts with:

ELIZABETH:
thanithssissue lies between the
queen

_And her soldiersgfand your lord-

 

shipneed feel no
Concernninntheflmatter.m

ESSEX:

When I made these promises

I spoke for your Majesty~-or be-
lieved I did.

CECIL:

My liege,

It is well known a regent may
repudiate

Treaty or word of a subject officer.

The throne is not bound.

ESSEX:

If it comes to repudiation,

The throne can, of course, repudiate
what it likes.

But not without breaking faith.

With slight condescend-
ing attitudeliputting
ESSEXIahoxsiQEQIL.in
her eyes; Iaélsatins
h—er Dowel-Ion Lthe

‘W‘HN w

More serious..jbfi.m.-u
monarch making decis-

ions_ oT_ state.

Close discussion of
hostages3 a moments

pguse, then ask for
further business.

 

ELILABETHIandMESSEx
gamma.-.“ I

£32122; 81.8.8.9.Q-_§.8§.II.1_.A15.-
Ewing”. his re-
QQEIQEQ.

§aa£2Izl_wwhme_.iwummu.

”Her. is_made no precedent.

121

.IIIIIARETH:

I fear we are wrong, Sir Robert;

And what has been promised for me
and in my__name

By my own officer, my delegate in
the field,

I must.nerf0.mi_ Thewman may have
their-rsneems.

The state _will tako_ItS 1933; for
this_one time

inxi_snd this the_last.
.Iature s.prieoner

Is helden_the,na e of.theistate.
and whatever_price

Is_ on his_ Head‘belongs £9,3he
crown. Our action

Inmthe

 

What
further
Busin_ess is there_ before us?

CECIL (Rise and cross U.C. of

QUEEN):

There is one perpetual

Subject, your Majesty, which we
take up

Time after time; and always leave
unsettled,

But which has come to a place
where we must act

One way or another. Tyrone' s

.h rebellion at Ulster---

 

““13 no longer a smouldering goal,

but a running fire
Spreading north to south. We
must conquer Ireland
Finally now, or give over what we
have won.
Ireland's not Spain.

ELIZABETH:
Iiszaasixau.

FOOL:
I also grant you.

(Sit in chair)

ELIZABETH.
M93+Imn

Attitude of real con-W
cern_overpproblem.
Show respect or
BURGHLEY.

 

 

ShrezdL_dIeI1kinsflm-

idea, butflknowing_itm“w'

____'.-.—.——

must-Bewdone.

 

Antilcaipesekét reply -

“.—

122

FOOL:
Be quiet, Fool. (The FOOL slaps
his own mouth.)

”ELIZABETH:

Lorthurghley,
You shall speak first. What's to
be done in Ireland?

BURGHLEY (Rising at place):

If my son is right, and I believe
him to be,

We can bide our time no longer
there. They have

Some help from Spain, and will have
more, no doubt.

And the central provinces are ris-
ing. We must

Stamp out this fire or lose the
Island.

_ELIZABETH:

This means
Men,,money,flships?

BURGHLEY: Yes, madam.

CECIL:
And more than that---
A leader. (Rises.)

‘ ..EIZEETH= Whatuleader?

CECIL:

A Lord Protector

Of Ireland who can carry sword and
fire

From one end or the bogs to the
other, and have English law

On Irish rebels till there are no
rebelS.

We've governed Ireland with our
left hand, so far,

And our hold is slipping. The man
who goes there

Must be one fitted to master any
field---

The best we have.

Slightlz impat1°Q§gflmmmnm

 

Start at name or-.‘.
ESSEX.

Agree once she realizes
h§_haenltunamed any one
man.

ELIZ._starts to strike.
him,

Imastieutlwithnhismm“_mu

ayoiding her question
by beatingmaround_the
bush.

Shrewd, starting to
Egel§htqughzfiheir
MB 3.3"

Glance_etUQEQIL..showp.w-

himwhemdoesnit,have
QEEEEEE!,999Fr9l.¥¢to

123

EQIEABETH: What man?l_Name one.

CECIL (Cross above chair):

We should send,

Unless I am wrong, a proved and
able general,

or no less rank than Lord Howard
here,

_ Lord Essex, Sir Walter Raleigh,

Knollys, or Mountjoy---
This is no slight matter to keep
or lose the Island.

ELIZABETH:
I grant you that also.

FOOL:
I also grant you. Be quiet, Fool!
(He slaps his mouth.)

“ELIZABETH:

I ask you for one and you name a
dozen, Sir Robert.

RALEIGH (Rises):

Why should one go alone, if it
comes

To that? Why not two expeditions,
one

To Dublin, one into Ulster, meet-
ing halfway?

ELIZABETH: Are there two who
could work together?

CECIL:
Knollys and Mountjoy.
They are friends and or one house.

ESSEX: Yes, of my house.

ELIZABETH:
Essex,mwhom,would.youflname?

ESSEX (Rises):

Why, since Sir Rdbert

Feels free to name my followers,
I shall feel free

To name one or two of his---

Relax in ch8¥§a-§£9kt.
ing,0hcé'more in
contaqLoLsitusti on.

 

Q..'-1_1_9_1$___ea<_1wd 991 a in .

Losecpatiencemwith.._
QEQILi_hecome angry.

Disturbedubxuinterrup-
tion.

Easaply.w.

Quit a --.snarl in owls..-“

- - 7 ,

- — ”mm-

124
ELIZABETH:

'"In other words,

You would rather Knollys and
Mountjoy did not go?

ESSEX:

I would rather they stayed in
England, as Sir Robert knows.

I have need of them here. But I
will spare one or them

If Sir Robert will let Sir Francis
Vere go with him.

_ELIZABETH:

Let_Yere and Knollys go.

CECIL:

Lord Essex names

Sir Francis Vere because he knows
full well

I cannot spare him, my liege.

._ELIZABETH:

Is this appointment

Io_wait_tortallhournprlvate
bickerings?

Cenmwe,send no man of worth to
Ireland,.merely

Because to do so would weaken some
house or party

Here at court? (ESSEX sits.)

FOOL: Your Majesty has said--

.. ELIZABETH: 3911111 et--

FOOL: Fool:
ELIZABETH: Be quiet:
FOOL: Fool:

_ELIZABETH: Be quiet:

(The FOOL forms the word “Fool“
with his lips, but makes no sound.)

CECIL:
I hope I betray no secret, Sir
Walter,

Sit,t9£fla£d,inmchair,
complete surprise at

suggestign.

CEglLilookelplllxsatmal

ELIZABETHI:§he,returns
his glance_indignant-

11:.

125

If I tell the council that I
spoke with you

Before the session, and asked you
if you would go

Into Ireland if the Queen request-
ed it---and that you said

Yes, should the Queen desire it.

BURGHLEY: That would answer.

CECIL:

But I believe, and Sir Walter
believes, there should be
More than one hand in this--that

if he goes
Lord Essex should go with him.

ELIZABETH:
Elf-h him?

ESSEX:
In what
Capacity?

CECIL:

Leading an equal command. Two
generals

Of coeval power, landing north
and south

And meeting to crush Tyrone.

ESSEX:
Would you set up
Two Lord Protectors in Ireland?

CECIL:
It was my thought that we name
Raleigh as Lord Protector.

ESSEX: And I under him?

_“CECIL:

Since the Azores adventure

Which my Lord Essex led, and which
came off

A little lamer than could be
wished, but in which

FIGURE 4

Act I, scene 5.
'I speak for the good of the state.‘

 

ELIZi_looksasharp1y

{rpm_CECIL to RALEIGH,I

seeinsmwhatsfihey are
trxias_§9mdoo

ELIZ._seee his anger.
setathe best or him.
it forward tensely.

Quick and sharp.

Althreat_andwa,warn-w_,

ing.

126

Sir Walter showed to very great

,0“ advantage,

It has seemed to me that Raleigh
should receive

First place if he served in this.

ESSEX (Rises):
This is deliberate,
An insult planned:

CECIL:

It is no insult, my lord,

But plain truth. I speak for the
good of the state.

ESSEX:

You lie. You have never spoken
here or elsewhere

For any cause but your own!

ELIZABETH: Nowmgrcmgi this:

ESSEX:

Good God:

Am I to swallow this from a clerk,
a pen-psuher-—-

To be told I may have second place,
for the good of the state?

CECIL:

Were you not wrong at the Azores?
ESSEX:

N0: by God: And you know it:
ELIZABETH:

Whoever makes you angry has won

Already,nEssex:

ESSEX: They have planned this:

CECIL (Lifted. As though the

matter is settled. Sits.)

I say no more.

Raleigh will go to Ireland as
Lord Protector

And go alone, if the Queen asks it
of him,

And since you will not go.

Topping them all.
Angry withflESSEX.

 

During-thislspeech
ELIZABETH”¥¢_a§.f1rBt
assailandadiesuatsd
with ESSEXAILThen as
he gets into it she
seesmwhat he is do-
ing_to himself and
was§§_§9,§top-him.

Sit_unrisht-on.edscH
gfmthrone, glance
from_ESSEX to other
COUNCILLORS.

Pleading-_aw_mud-mui.

127

ESSEX:

I have not said

I would not go.
go I would go

Alone, as Lord Protector!

But if I were to

,ELIZABETH:

Thatsygyhyill not.
I have some wo dflin this.

ESSEX:

If this pet rat,

Lord Cecil, wishes to know my wind
about him,

And it'seems he does, he shall have
it.

How he first crept

Into favor here I know not, but
the palace is riddled

With his spying and burrowing and
crawling underground!

'He has filled the court with his

rat friends, very gentle

White, squeaking, courteous folk,
who show their teeth

Only when angered; who smile at
you, speak you fair

And spend their nights gnawing the
floors and chairs

Out from under us all:

. ELIZABETH: Mymlord:
ESSEX:
I am
Not the gnawing kind, nor will I
speak fair

To those who don't mean me well-
no, nor to those

To whom I mean no good:
frankly here,

Yes, to their faces, that Cecil
and Walter Raleigh

Have made themselves my enemies
because

They cannot brook greatness or
power in any but

Themselves: And I say this to
them--and to the world-—

I say

P.9ap._9z:ete.,.and. angry 9. . .._..

It'd!

128

I, too, have been ambitious, as
all men are

Who bear a noble mind, but if I
rise

I hope it will be by my own effort,
and not by dragging

Better men down through intrigue:

BURGHLEY: Intrigue, my lord?
RILEIGH: Better men, my lord?

ESSEX:

I admit

Sir Walter Raleigh's skill as a
general,

And Cecil's statecraftl I could
work with them freely

And cheerfully, but every time I
turn

My back they draw their knives:

@IZABETH: My batik”!!! 90rd:

ESSEX:

When Cecil left England

I guarded his interests as I
would my own

Because he asked me to:--but when
I left,

And left my affairs in his hands-
on my return

I found my plans and my friends
out in the rain

Along with the London beggars:

CECIL: I did my best---

ESSEX: Yes. For yourself! For
the good of the state:

RALEIGH (Rises):

If Lord Essex wishes

To say he is my enemy, very well-
He is my enemy.

ESSEX:
But you were mine first-

Qigiglslxaiqaw
commanding_voice.

ELIZ. site back in“_
throne,_disgusted
withflESSEX'S_actions.

 

ELIZ; Look up QulQKt_s
ly._reliexed.a Glance
sharply athECIL and
RALEIGH.

‘._q._..-—'v——~.- - ,. ..

129

And I call on God to witness you
would be my friend

Still, if I'd had my way! I take
it hard (RALEIGH site)

That here, in the Queen's council,
where there should be

Magnanimous minds if anywhere,
there are still

No trust or friendship!

(ESSEX sits.)

ELIZABETH:

'"I;:Bkcmit hard,that,you

Should quarrelrbefore me.

ESSEX:

Would you have us quarrel

Behind your back? It suits them
all too well

To quarrel in secret and knife
men down in the dark!

BURGHLEY (Rises):

This is fantastic, my lord. There
has been no kniving.

Let us come to a decision. We
were discussing

The Irish protectorate. (Sits.)

CECIL:

And as for Ireland,

I am willing to leave that in
Lord Essex's hands.

To do as he decides.

,ESSEX:

Let Sir Walter go
To Ireland as Protector! And be
damned to Ireland!

CECIL (Insidiously):

As the Queen wishes.

It is a task both difficult and
dangerous.

I cannot blame Lord Essex for re-
fusing

To risk his fame there.

 

Quickly topping CECILALM

ELIZ. genuinely_con-
canneépeit upright
on edge of throne;
watch CECIL and
RALEIanclosely.

130

ESSEX (Rises):

There speaks the white rat again!

Yet even a rat should know I have
never refused

A task out of fear! I said I
would not go

As second in command!

CECIL:
Then would you go
As Lord Protector?

ELIZABETH:
You have named your man--~
Sir Walter Raleigh.

RALEIGH:

With your Majesty's gracious per-
mission

I'll go if Essex goes.

ESSEX:
Is Sir Walter
Afraid to go alone?

RALEIGH:
I don't care for it--
And neither does our Essex!

ESSEX:

Why, what is this

That hangs over Ireland? Is it
haunted, this Ireland?

Is it a kind of hell where men are
damned

If they set foot on it? I've
never seen the place,

But if it's a country like any
any other countries, with
people

Like any other peOple in it, it's
nothing to be

Afraid of, more than France or
Wales or Flanders

Or anywhere else!

CECIL:
We hear you say so.

KEEELQQEPSLPIEQQPS

Sharplh--a_a_..thoush ...1t ._

were the last warning
she would allow her-
self to give him.

 

ELIZI_einks;hack in
chair: stare at ball
and mace, in angry

yet thoughtful mood.

151

ESSEX (Impetuously):

If I

Am challenged to go to Ireland,

Then, Christ, I'll go!

Give me what men and horse I
need, and put me

In absolute charge, and if I fail
to bring

This Tyrone s head back with me
and put the rebellion

To sleep forever, take my sword
from me

And break it--- I'll never use it
again!

ELIZABETH: Wifllflypu listen-~—?

ESSEX (Crosses to her):
They've challenged me!

,‘ELIZABETH:

If you volunteer

To go to Ireland there is none to

"I'stop you‘.""““w "”

ESSEX:

Your Majesty, I can see that
Raleigh and Cecil have set
themselves

To bait me into Ireland! They
know and I know

That Ireland has been deadly to
any captain

Who risked his fortunes there;
moreover once

I'm gone they think to strip me
here at home,

Ruin me both ways! And I say to
them “Try it!“

Since this is a challenge, I go,

And will return, by God, more of
a problem

To Cecile and Raleighs than when
I went!

BURGHLEY:

If Essex will go,

If solves our problem, Your Majesty.
We could hardly refuse that offer.

As though.thinklns
342934_911_1H€3£-_¥ e '5
GQLLQB-

ELLZL_199ks up_quick-
1y_when ESSEX strikes
the FOOL; looks.angri-
I: at ESSEX.

ESSEX.etartemto strike
FOOL, ELIZ. quickly
rises; COUNCILLORS
rise.IShe.instinctive-
1y prossgtsrpm rrom
ESSEX;

Top_them+all_in loud,“‘w

ehsraiiendwhanshnvoice.
High pitch of anger.
Motion them all to
leave except ESSEX.
Next lines are bitter
andusargastic.

_ELIZABETH:

132

(The FOOL rises and approaches
ESSEX.)

ELIZABETH: _MQ.
FOOL:
My lord! My lord!

ESSEX (Turning suddenly with an
instinctive motion that sweeps the
FOOL to the floor): You touch me
for a fool!

FOOL: Do not go to Ireland!

ESSEX (Impatiently): You too?

FOOL:

Because, my lord, I come from
Ireland.

All the best fools come from Ire-
land, but only

A very great fool will go there.

ESSEX (About to strike FOOL again):
Faugh!

ELIZABETH:
No!_‘Break up_the council, my lords.
We meet_tomorrow.

BURGHLEY:
cision?

Then there is no de—

ESSEX: Yes! It is decided.

Yes. Goflto Ireland,

Go to hell.

(All, except ELIZABETH and ESSEX,

file out silently.)

You should have had

The Fool's brain and he yours!
would have battered

By the exchange.

You

ESSEX:
I thank you kindly, lady.

Nailaokins.-atmhimi... ,

sunfish tel king
t2_hezeelf.

Cross down below
Council Table,wp1ace
ball and mace on it.
Renrimsnfiins.himo

 

Decisixely.ii..s.

Anotheuarning. to _

himl_.Not_believing
begun—really -go.

SlifiQE;L5.h_§-FP 2. -Abef “..._.
comingmmoreudisgust-

Hunks; inability
to-ruleuhim.

133

‘ELIZABETH:

What malicious star
Danced in my sky when you were
born?

ESSEX:
What malicious star danced
Over Ireland, you should ask.

ELIZABETH:

You are a child in council.) I
sawmthem start

To draw you into this, and tried
to warn you-

But it was no use.

ESSEX:

They drew me into nothing.

I saw their purpose and topped it
with my own,

Let them believe they've sunk me.

.MELIZABETH:

You will withdraw.
I'll countermand this.

ESSEX:
And let them laugh at me?

WMELIZABETH:

Better they should laugh
A little now than laugh at you
forever.

ESSEX:
And why not win in Ireland?

ELIZABETH:

No man wins there.

YoulreweQ_dazzled

With the chance to lead an army
you'd follow the devil

In,anwassault on heaven.

ESSEX:

That's one thing

The devil doesn t know,

Heaven is always taken by storm.

134

LQOELEt h1m_a_momentlm_uaELIZABETH:

Eggg,m§§0§3 slowly to
first step of plat-
form_L. _Qniet and
thoughtful.
Turnmtoahimmon_last_
twa_lines.

Extend_arms to him:..
softnand_loving.

Imploring....-.--_ a,

He.kissss her; she_m_
holde tightly to him
untilaheruline.

Voice becomes strong-h.

Q£_withmthcuwarning
of what will happen.

. ELIZABETH:

Iqthought so as you said it,

Onlymsomething_herewinwmyhbreast
constricts—-

Is it the heart grows heavy?

I must let you go-~

And I'll never see you again.

ESSEX (Taking a step toward the

throne):

Mistrust all these

Forebodings. When they prove
correct we remember them.

But when they're wrong we forget
them. They mean nothing.

Remember this when I return and
all turns out well.

That you felt all would turn out
bad-lye

.-ELIZABETH:

Come touch me, tell me all will
Happenywell.

ESSEX (Crossing to her and taking
her in his arms):
And 80 it Will.

Do youwantf to go?

ESSEX:
Why, yes--—
And no.

AHIHeikissessher.)

I've said I would and I will.

ELIZABETH:

It's not yet

Too late.

Remember, if you lose, that will
divide us--

And if you win, that will divide
.us too.

ESSEX:

I'll win, and it will not divide
us. Is it so hard

To believe in me?

—--~—

hsn_s.

Take ring off finger,
hold in_her hand.

—-.. -.

Look__a_tmx_'_i_ng;.and then
at him.

 

-s. -

Hold
d

Take.his hand and
give ring to him.

Soft.and_lQYinssm. m ..un

throughout_speech.w

his _,fa.o_c-._1n_ :1 ext...“

135

wELIZABETH:

M017- I'll believe in you---

And even forgive you if you need
it. Here.

My father gave me this ring-~and
told me if ever

He lost his temper with me, to
bring it to him

And he'd forgive me.“ And so it
saved my life--

Long after, when he'd forgotten,
long after, when

One time he was angry.

ESSEX:
Darling, if ever
You're angry, rings won't help.

ELIZABETH:

Yes, but it would.

I'd think of you as you are now,
and it would.

Take it.

ESSEX:

I have no pledge from you. I'll
take it

To remember you in absence.

ELIZABETH:

Take it for a better reason. Take
it because

The years are long, and full of
sharp, wearing days

That wear out what we are and
what we have been

And change us into people we do
notnknow

Living among strangers. Lest
you and_I_who love

Should wake some morning strangers
and enemies

In an alien world, far off; take
my_ring,smy lover.

ESSEX (Kneeling):
You fear
You will not always love me?

Takemhis‘arme.nbrin8...fl

him_upwfrom kneel; put
her_arms around him.
After line they look
at each other a moment
ESEE.§£99-

,ELIZABETH:

No._thatmy0u
Will not love me,_and will not
let_memloveqyou.

CURTAIN

136

ACT TWO
SCENE ONE

Scene - The interior of ESSEX'S
tent in Ireland. ESSEX is seat-
ed back of the camp table. This
table is L.C. Dispatches and
maps, a money bag, and a mug of
water are on the table. R.C. of
the tent is a tying post with
ropes. There is also a lighted
lantern on the table. ESSEX
rises with dispatches in his hand.
He paces back and forth in front
of table. As he reaches R.C. he
calls:

ESSEX: Marvel!---Marvel!---
(Crosses to L.C. MARVEL enters
from down R.)

There have been no other losses?

MARVEL: Only at the landing.
ESSEX: There was ambush there.
MARVEL: Yes, my lord.

ESSEX:

It's not losses we should fear now.

Though we have lost more than I
should like to think of.

It's going on against a retreating
enemy,

Venturing further from our base

When we are not supplied.

This country's barren-festering
with fever bogs.

There are no roads--no food.

I think we have been forgotten in
London.

May, worse than forgotten.

MARVEL:

My lord, if I may make so bold,

There must be some reason for such
strange policy.

The Queen has written.

h.

138

ESSEX: Aye. She has written.
“Lord Essex will confine his in-
vasions to the near coast. Lord
Essex will prepare to shorten his
campaign.” And that is all. If
she had wished Tyrone to win she
could not have done better. In
the name of God can one fight
thus?

MARVEL (Taking a step toward him):
My lord.

ESSEX (Pushing him away):

Stand away from me.

We all smell putrid here.

Has the valley been cleared of
the corpses?

MARVEL: Yes, my lord.

ESSEX: What is this stench?
(ESSEX crosses to back of table;
takes a sip of water from the mug;
sits; feels nauseous; rises and
spits out the water, leaning over
the table as though vomiting.)
Even the water stinks.

(After a slight pause he site.)
How many did you say lost at the
landing?

MARVEL: Thirty or so. Not many.

ESSEX:

There's thirty less to wonder

Whether they'll see their wives
again.

MARVEL: My lord.
The men have not been paid.

ESSEX:

Are they muttering?

My revenue's been stopped.

Let them know that.

If we face Tyrone again it's be-
cause Southampton

139

Has gone my surety. This is not
the Queen's war,
Not now. Are they deserting?

MARVEL:
They want one thing: to follow you
to London.

ESSEX: And why to London?

MARVEL:
Forgive me saying this---
They wish to make you King.

ESSEX (After a pause):
Have they forgotten the Queen?

MARVEL: They are willing to for-
get her.

ESSEX: But I am not. We wait here.

MARVEL: We cannot wait longer with-
out supplies.

ESSEX: Word will come. We wait
here---until---

MARVEL: Shall I give this out?
ESSEX: Yes.
(A MAN-AT-ARMS enters down R.)

MAN-AT-ARMS: There is a courier
from the Queen, my lord.

ESSEX: At last, then.

MARVEL (Anticipating good news):
You will see him at once?

ESSEX: Yes. (MARVEL starts to go
off R.) Wait. (MARVEL stops.)
Bring him in and stay here while

I read the dispatches. If I give
orders to torture or kill him--
You understand?

..-‘fl—

140
MARVEL: You will not torture him?
ESSEX: Am I not tortured?
(MARVEL starts to protest, but in-
stead goes off R. To the MAN~AT-
ARMS, who has taken his place up-
stage of the tying post):
You too, sirrah. You hear this?
MAN-AT-ARMS: Yes, my lord.
ESSEX: Good.

(The COURIER enters down R.,
followed by MARVEL. He crosses to
between table and post and falls

to his knees. MARVEL takes a posi-
tion downstage of the post.)
COURIER: My Lord of Essex?

ESSEX: Yes.

COURIER: I come from the Queen.
ESSEX: When did you leave London?

COURIER: Four days ago, my lord.
We were delayed.

ESSEX: What delayed you?
COURIER: Thieves.

ESSEX: And they took what from
you?

COURIER: Our horses and money.
ESSEX: And letters?---

COURIER: Were returned to me
untouched.

ESSEX: Where did this take place?
COURIER: This side of the ford.

There were four armed men against
us two.

141

ESSEX (Grabbing the dispatches):
Give me the letters. (There is
only one dispatch, which ESSEX
reads briefly.) This is all?

COURIER: Yes, my lord.

ESSEX: You are sure you lost
nothing?

COURIER: Indeed, yes, my lord.
There was but one missive and the
seal was returned unbroken. The
cutthroats told us they cared the
less about our letters for they
could not read.

ESSEX: You are a clever liar,
sirrah, and you are the third
liar who has come that same road
to me from London. You are the
third liar to tell this same tale.
You shall pay for being the third.

COURIER: My Lord, I have not
lied to you.

ESSEX: Take his weapons from him,
Lieutenant. (MARVEL obeys.) Set
him against the post there.
(MARVEL and the MAN-AT-ARMS place
him against the post.) Not so
gently. Take out his eyes first
and then his lying tongue.

COURIER: Your Lordship does not
mean this.

ESSEX: And why not? (Crosses to
COURIER and slowly wrenches his
arm backwards.) We shall break
him to pieces--but slowly with
infinite delicacy.

COURIER: No, no, no, no! Oh, my
Lord! My Lord!

ESSEX: What are you waiting for?

FIGURE 5

Act II, scene 1.
'If my Lord Essex is as I have
believed him, he will not hurt me.‘

 

142

MARVEL: We must tie him to the
post first, sir.

ESSEX: Then tie him! (They do so)

COURIER: My lord. I have not
lied to you. There was but one
dispatch. There was but one---

ESSEX: We know too well what you
have done, sirrah. We need no
evidence of that. What we ask is
that you tell us who set you on--
and your accomplices. Tell us this
and I want no more of you. You
shall have your freedom--and this-
(Indicates the money bag.)

COURIER: My Lord, if I knew---

ESSEX: Truss him up and cut him
open (They complete their bind—
ing.)

COURIER:

My Lord, I am not a coward, though
it may seem to you

I am, for I have cried out-vbut I
cried out

Not so much for pain or fear of
pain

But to know this was Lord Essex,
whom I have loved

And who tortures innocent men.

ESSEX (To MARVEL): Have you no
knife?

(MARVEL takes the knife he has
taken from the COURIER and during
the next speech prepares to cut
out the COURIER'S tongue. ESSEX
places his hands over COURIER'S
face as though to open his mouth.)

COURIER:
Come, then. I am innocent. If my
Lord Essex

143

Is as I have believed him, he will
not hurt me;

If he will hurt me, then he is not
as

And many thousands have believed
him, who have loved him,

And I shall not mind much dying.

(ESSEX pushes MARVEL'S knife away
and releases the COURIER.)

ESSEX: Let him go. (MARVEL and
MAN-AT-ARMS unbind him. COURIER
falls to ground.) I thought my
letters had been tampered with.
You'd tell me if it were so.

COURIER:

My honored Lord.

By all the faith I have, and most
of it's yours,

I'd rather serve you well and
lose in doing it

Than serve you badly and gain. If
something I've done

Has crossed you or worked you ill
I'm enough punished

only knowing it.

ESSEX: This letter came
From the Queen's hands.

COURIER:
It is as I received it
From the Queen's hands.

ESSEX: There was no other?

COURIER: No other.

ESSEX: Then go.

COURIER: I have brought misfortune.
ESSEX: You have done well. We
break camp tomorrow for London.

Go. Take that news with you.
They'll welcome you outside.

144

Remain with my guard and return
with us. (COURIER salutes and
goes off R., followed by MAN-AT-
ARMS.)

MARVEL: We march tomorrow?
ESSEX: Yes.

MARVEL: Under orders from her
Majesty?

ESSEX: No. (He reads the dis-
patch.) "Lord Essex is required
to disperse his men and return to
the capital straightway on his own
recognizance to give himself up.“
(Looking up.) To give himself up.

MARVEL: And nothing but this?

ESSEX:

There is a limit to my humiliation.
Give out the necessary orders.

We embark at daybreak.

MARVEL: Yes, my Lord.

ESSEX:
And it is
As well it falls out this way!

MARVEL:
By right of power and pOpular voice
It is your kingdom--this England.

ESSEX: More mine than here,
As she shall learn. It is quite
as well.

MARVEL:

There is victory in your path,

My Lord. The London citizens
will rise

At the first breath of your name.

ESSEX:
And I am glad for England.

145

She has lain fallow in fear too
long.

Her hills shall have a spring of
Vietorye

Go,,then.

(MARVEL goes off down R.)

And for this order,

I received it not.

(Tears the order to pieces.)

(A TRUMPET is heard off stage.)

CURTAIN

ACT TWO
SCENE TWO

Scene - The QUEEN'S Study.
PENELOPE is sitting on chair up
R., reading. The FOOL enters L.
She does not see him.

FOOL: Sh! Make no noise.
PENELOPE: What do you mean?
FOOL: Silence! Quiet!
PENELOPE: I am silent, Fool.

FOOL: You silent? And even as
you say it you are talking.

PENELOPE: You began it.
FOOL: Began what?
PENELOPE: Talking.

FOOL: Oh, no. Talking began
long before my time. It was a
woman began it.

PENELOPE: Her name?
FOOL: Penelope, I should judge.
PENELOPE: Fool.

FOOL (Warmly): No, for with this
same Penelope began also beauty
and courage and tenderness and
faith---all that a man could desire
or a woman offer---and all that
this early Penelope began has a
later Penelope completed.

PENELOPE: It lacked only this—-
that the court fool should make
love to me now.

FOOL (lneels beside her): I am

147

sorry to have been laggard. But
truly I have never found you a-
lone before.

PENELOPE (Pushing him away): How
lucky I've been!

FOOL: Are you angered?
PENELOPE: At what?
FOOL: At my loving you.

s
PENELOPE (Laughing): I've learn-
ed to bear nearly everything.

FOOL (Mysteriously): A lover's
absence.

PENELOPE: Among other things.

FOOL (Leaning toward her): The
presence of suitors undesired?

PENELOPE (Again pushing him away):
That, too.

FOOL (Rising and crossing R.): I
am not a suitor, my lady. I ask
nothing. I know where your heart
lies. It is with my Lord Essex
in Ireland. I do not love you.

PENELOPE: Good.

FOOL (Crossing to her and kneel-
ing): I lied to you. I do love
you.

PENELOPE (Very tenderly): I am
sorry.

FOOL: You will not laugh at me?
PENELOPE: No.
FOOL: Then there is some divinity

in the world—~while a woman can
still be sorry for one who loves

148
her without return.

PENELOPE: A woman is sadly aware
that when a man loves her it
makes a fool of him.

FOOL: And if a fool should love
a woman-~would it not make a man
of him?

PENELOPE (Quickly): No, but
doubly a fool, I fear.

FOOL (Quickly): And the woman--
how of the woman? .

PENELOPE: They have been fools
too.

FOOL (Very mysterious and sinister):
The more fool I, I tried to save
Lord Essex from Ireland--but he
needs must go--~the more fool he.

PENELOPE (Rising): Let us not
Ital-K of that.

FOOL (A step toward her): May I
kiss you?

PENELOPE: No.

FOOL (Pleadingly): Your hand?
PENELOPE: Yes.

FOOL (Kneels and kisses her hand):
I thank you.

PENELOPE (Puts her arms around him
as she would a crazy child): The
more fool you, poor boy.

CECIL (Enters R.): This is hardly
a seemly pastime, Mistress Gray.

(The FOOL laughs and exits L.,
repeating: 'This is hardly a
seemly pastime, Mistress Gray.")

149

PENELOPE: And are you now the
judge of what is seemly, Sir
Robert?

CECIL: The Queen is eXpecting
Master Bacon here?

PENELOPE: I am set to wait for
him.

CECIL: You will not be needed.

PENELOPE: Excellent. (Goes out
L. after an elaborate curtsey.
RALEIGH enters R.)

CECIL: This Bacon keeps himself
close. I have been unable to
speak with him. She has this
news?

RALEIGH: Yes.
CECIL: She believes it?

RALEIGH: Beyond question. (BACON
enters from up R., his book in
his hand.)

CECIL: Good-marrow, Master Bacon.
BACON: And to you, my Lords.

CECIL: I have sent everywhere for
you, sir, this three hours-——and
perhaps it was not altogether by
accident that I could not find you.

BACON: I was not at home. You
must forgive me.

CECIL: You are here to see the
Queen?

BACON (Bowing): The Queen has
also been good enough to send for
me.

150

CECIL: It was my wish to speak
with you first--and it is my
opinion that it will be better
for all of us if I do so now--
late as it is.

BACON: I am but barely on time,
gentlemen.

CECIL: You need answer one ques-
tion only. (CECIL motions BACON
to sit. He does so in chair up
R. CECIL sits chair L. of desk.
RALEIGH crosses to above desk.)
You have been in correspondence
with Lord Essex in Ireland?

BACON: Perhaps.

CECIL: The Queen has this morning
received news warning her that
Lord Essex is allied with the
Irish rebels and is even now lead-
ing his army back to England to
usurp her throne. Had you heard
this?

BACON: No.
CECIL: Do you credit it?

BACON: It is your own scheme, I
believe.

CECIL: That Essex would rebel
against the Queen?

BACON: Even so.

RALEIGH: You accuse us of treason?
BACON: If the Queen were aware

of certain matters she would
herself accuse you of treason.

CECIL: What matters?
BACON (Reading his book): I prefer

151
that the Queen should question me.

CECIL: Look to yourself, Master
Bacon. We know what the Queen
will ask you and we know what you
may answer.

RALEIGH: Come, there's no time
for this. Take your head out of
your book, and if you've an inter-
est in living longer keep it out.
(To CECIL.) Speak it out with
him.

CECIL: Softly, softly. In brief,
if you intend to accuse any man

of the suppression of letters---
(BACON snaps book closed)—-written
by Essex to the Queen, or of the
suppression of letters sent by

the Queen to Essex, you will be
unable to prove these assertions
and you will argue yourself very
neatly into the Tower.

BACON: My Lord--I had no such
business in mind.

RALEIGH: What then?—--

BACON: I hope I can keep my own
counsel. The truth is, my Lords,
you are desperate men. You have
over-reached yourselves, and if
wind of it gets to the royal cars
you are done.

RALEIGH: We shall drag a few down
with us if we are done, though,
and you the first.

CECIL: You have but a poor esti-
mate of me, Master Bacon. If you
go in to the Queen and reveal to
her that her letters to Essex
have not reached him-~as you mean
to do--the Queen will then send
for me, and I will send for Lord

152

Essex's last letter to you, con-
taining a plan for the capture of
the city of London. It will
interest you to know that I have
read that letter and you are
learned enough in the law to
realize in what light you will
stand as a witness should the
Queen see it.

BACON: I think it's true, though,
that if I go down I shall drag a
few with me, including those here
present.

CECIL: I am not so sure of that,
either. I am not unready for that
contingency. But to be frank with
you.

BACON: Ah! Frank! Frank!

CECIL: It would be easier for
both you and us if you were on
our side.

BACON (Opening his book): You
must expect a man to side with
his friends.

CECIL: And a man's friends—~who
are they?

BACON: Who?

CECIL: Those who can help him to
what he wants.

BACON: Not always.

CECIL (Threatening): When he is
wise. You have served Lord Essex
well and I believe he has made you
promises. But the moment Lord
Essex enters England in rebellion,
he is doomed, and his friends

with him.

153

BACON (Closing book quietly):

One word from the Queen to him--
one word from him to the Queen--
one word from me revealihg that
their letters have been intercept—
ed--and there can be no talk of
rebellion. Your machinations

have been so direct, so childish,
so simple—-and so simply exposed
-—that I wonder at you!

CECIL: My friend, he has Spoken
and written so rashly, has given
so many handles for overthrow,
that a child could trip him.

RALEIGH (In anger): We have news
this morning that Lord Essex has
already landed in England and set
up his standard here. He is a
rebel.

CECIL (Quickly topping RALEIGH):
And when a man is once a rebel,
do you think there will be any
careful inquiry into how he
happened to become one?

BACON (Puzzled): Essex in England!

RALEIGH (Quickly): In England.
And has neglected to disband his
army.

CECIL (As quickly):

You speak of explanations between
the Queen and Essex.

Unless you betray us,

There will be no explanations. They
are at war now.

They will never meet again.

BACON: That is, if your plans
succeed.

CECIL (Rising):

Very well, then. You have chosen
your master.

I have done with you.

First line off stage. ,
Enter L., stop as she
saS§_CECIL.Ithen cross

..._.. _-_..-

to_ghaii_L.hof desk.

Stop_himisharplx. Sit i.
inlchair. Watch them
closely as they_leave;

Turn slowly to Bacon.
Calculatingly.

 

154

BACON (Not moving but a quick
glance to door L.): And if she
learns nothing from me? (CECIL
and RALEIGH exchange glances.)

CECIL (Very obsequious): Then--
whatever you have been promised,
whatever you have desired, that
you shall have. (BACON rises,
takes a step down and bows. CECIL
bows and continues.) There is no
place in the courts you could not
fill. You shall have your choice.
If you need excuse, no one should
know better than you that this
Essex is not only a danger to our
state but also to you.

BACON: If I need excuse I shall
find one for myself.

(PENELOPE is heard off stage.)

PENELOPE: Yes, Your Majesty,
he 18 here.

ELIZABETH: whygwasmlwnot told?
ls_this an ante-chamber, Sir
Robert? Am I never to look out
of_my room without seeing you?

CECIL: Your pardon, your Majesty.
I----

ELIZABETH: You need not pause to
explain_why you came. I am weary
of your face!

CECIL: Yes, your MajestY. (CECIL
and RALEIGH bow and go off R.)

ELIZABETH: I_have heard that you
are a shrewd man, Master Bacon.

BACON: Flattery, Majesty,
flattery.

Glance_to where
CECILIwentIoffaibefore
last line. Following
speeches all spoken
withfitouch of shrewd-
-nssa_andfislyneae.

Sounding him out.

chrlx_cautious.e,ue.._

Sit forward in chair.

With_touch of bitter-
mass.

Quickly. _- -_

_ .._-_ . _- ~---~.-~

Sit ba9k_in-cha1rlmwn_
not looking,at him.

 

 

LQOkiatihim_intsntly.---

as_though molding .him
t9_hcr_nill.

-_.,-- ..ffifi-‘

...s-—

155

ELIZABETH:

I have_heard it,

And_in a sort I believe it. Tell
me'one'thing4;4’*”"’“

Are you Cecil's friend.

BACON: I have never been.

_,ELIZABETH:

He's a shrewd man; he's

Anman to make a friend of if you'd
stand well

Inqthe_court,usir.

BACON: It may be.

ELIZABETH:
Why are you not
His friend then?

BACON: We are not on the same
side.

.ELIZABETH: You_follow Lord Essex.

BACON: Since I have known him.

ELIZABETH:
There's
A dangerous man-to follow.

BACON: Lord Essex?
ELIZABETH: Lord Essex.

BACON:
I am sorry, madam,
If I have displeased you.

ELIZABETH:
You have displeased me.

BACON:
I repeat, then-
I am sorry. (He bows.)

”ELIZABETH:

GoodaaiYou_williehange, then? You
willaforset

m

desk.

-n-...-

i

Sarcastically.

Slowlideliberate:--

Irxlhg_tomimpress
him with the danger
hQ -4! --1“ s

Not quitenbelieving3.‘
look away to exit R.

 

Threatening.wPause,be-,

*fore_linei-turn.ilook
at him, speak slowly
and deliberately.

RiselIelapmhandgon_

_- .._......e

harplyi-Slanping-fli_wnwr

155

This Essex of yours?

BACON: If you ask it--if there

is reason--

ELIZABETH:

There is_reason!_ He has taken up
arms

Against-mewiauEnsland.

BACON: Are you sure of this?

ELIZABETH: Is it so hard to be-

have?

BACON: Without proofs it is.

You have proofs?

_ELIZABETH:

Proof good enough. You know the
punishment

For treason?” From what I have
heard

Of late both you and Essex should
remember

That punishment.

BACON:
Madam, for myself I have
No need to fear.

__ELIZABETH:

You reassure me, Master Bacon.

BACON:
And if Lord Essex has
I am more than mistaken in him.

ELIZABETH:

"-But allifriendeiofiEssex

Go straightway to the Tower.
Are you still his friend?

BACON (Bows):
Yes, Majesty.

,ELIZABETH:

I em-eorrynfor it.

._—__~—..

More a statement than
a queetion3 thought—
fuiiy.

Mystified.

Quiet, with sly
understanding.

Turn, walk L., almost ,M_

talking to self, trying
to_con1ince-herself.

Cross up_ on platform
C. _SfrOhg,_ cold, and
more deliberate.

Still strong voice,
but warm, more loving.
Look down _R., but not
at BACON; quality of

9778511113.

 

Turn_to-BACON,flspeak
finaluline'quicklyLm
EpaFP}Xe

Extend arms, implor-
ingly.

157

BACON (Cross R. of her):
That is all, your Majesty?

ELIZABETH:
Why,flno._ You_do not believe me?
Madam!

ELIZABETH:
And why do you not believe me?

BACON:

BACON:

Madam, if you intend to place me

In the Tower-would I not be there?
--and no talk about it.

ELIZABETH:
You are shrewd indeed.
too shrewd!

Perhaps

BACON (With absolute conviction):
I am Essex's friend.

ELIZABETH:

II_that were true---if-there were
iny

The sound of one honest voice!

I must rule England,

And they say he is a rebel to me-
and day and night,

Waking, sleeping, in council,
there is still always

One thing crying out in me over
and again---

I hear it crying!

Cannot fail me!

Me-—both woman and queen.

But I have written him my love

And he has not answered. What do
do you know of this?

He cannot,

BACON: lothing!

ELIZABETH:

Answer me truly, truly-«bitter or
not

And you shall not lose!

QEAEElXIPQPAPAHauwM-

BLISSIIPSUB6o_Quiet 1.-

huLforcefulTw

Firstuline-quicklxle.wn.

angrily,

Turn upstage, close
P9-b£9ekinswpoint. on
last line.

Sharp.,still-turned ..

away from him.

Turn front suddenly“
with_great_determina-
tion.

Crone-Q9E2I91..slmqst._n

Shoutipg.

158

BACON: He has not answered?

ELIZABETH: He has not answered.

BACON (Beginning to consciously

lie):

If I

Knew why I would know much. (Cross
to her.) Have you angered him--

Sent arbitrary orders?

ELIZABETH:

M"I have ordered him to disband

His forces and return. I have
” cut off all

Revenue and supplies.

BACON:

But Madam---

To send a popular leader out with
an army

And then check him suddenly, heap
disgrace upon him--

He has great pride.

.WELIZABETH:

He has rebelled, then?
I wrote him lovingly.

BACON:
And he answered nothing?

ELIZABETH:
Nothing.

BACON:
That could not be excused.

ELIZABETH:
No. “It cannot_be.
be.

It will not

BACON:
Madam, I fear
I have turned you against him!

ELIZABETH:
No,hno!_mI_needed_that!

Gross_Lllihands_on_v
temples, then fling
arms out, as though
to-pushithought-out.
Turn R. on last line
to-BACON,~suddenly.

Few steps to him.
Cunningly, accusing-
1y.

Yiolentlisngr1-t0PP-
Angeua?39¢.L9

1.11.311 .31; -PBUBO, walk
slowly to him. Sly
and_threatening.

Atndesk, slapping
bothahangsaoni t .- . _
losing_poptrol of
t emp er s

Quieter,mbut_with
extreme intenseness,
slyly; building up
to a stronger force.

Look hard at_him,_then
break. Sit in Chair
L.C. Look out front
blankly, then speak.

159

BACON (Cross D.R.):

And if there were something
wrong---

Some misunderstanding~--

. ELIZABETH:

No, no--don't try comfort now--

He had my letters. That could
not go wrong.

Did he not have my letters?

BACON:
How could it well be otherwise?

ELIZABETH:

You would know that. You would
know if he had not.

You've had word from him?

BACON (Very tentative): Yes.

ELIZABETH:
Yes.hmHe has written you,

But not me!

Or are you traitor to him also--?

I think you are! I think you lie

to me!

Damn you! I am

Encompassed by lies!

lithinknyou.mtoo,ubstray_him---

But subtly,_with infinite craft,
making me believe

First that you would not wrong
him!

No, no—--I'm gone mad

Pacing my room, pacing the room of

Lgok at BACON, then
out front, lost in
own_thgughts. _Ca1m.

girl-.1438 9 haPPY-

Then_slump_slowly
in chair to sadness
and_melancholy.

Calm, almost
Ethereal, lost in
memory of love for
Essex.

Long pause._thenmcold
realization. Look at
him.

Build voice slowly,
hgggified. A '

Gesture-with_out-
stretched arms for
racks,flending with
hands to eyes then
temples.

160

my mind.

They say a woman's mind is an
airless room,

Sunless and airless, where she
must walk alone,

Saying he loves me, loves me,
loves me not,

And has never loved me.

The world goes by all shadows,

And there are voices, all echoes
till he speaks---

And there's no light till his
presence makes a light

There in that room.

Buth am a Queen.

Where I walk

Is a hall of torture, where the
cgrious gods bring all

Their racks and gyves, and
stretch me

Till I cry out.‘ They watch me

with eyes of iron.

Waiting to hear what I cry!

Rise; voicevfull and 3‘
high3hands on temples.
03988 Up 0.. hold

with back to audience
Qn platform.

Endlinesflwith arms
outstretched as though

pushing something SWSY.

Long pause; hands
clench into fist, then
relax. Turn slightly.
Strong imperiousness;
forceful, in complete
control vocally. Harsh
but quiet.

Taxnacompletelx
frontl--Bitter.
sarcastic. and
scoffing.

Hard and decisive.

_Pause,wthen_with
cruel determination.

Gross down.L..-o.f. -- .e _
chair.HQelculatinS.
hitter and threaten-
ing..

161

I_smicrxinalnowe--
Listen, youggods of irgn!__He

 

neveriloved_mee-e

He lantedany.kingdom only--—

.L°9§9-m§ and let me go:

I am still Queens:-

That I have! . That..haxill.not
take-fromime.

Imshall be Queen, andealk his
room no more.

Heethgughtitoibreakime“down.by,
.aaimsaswerinE:--

Break me until I'd call 11m yours,
I'm all-xoureeeewhat-I_am

AEQIHSY91-8l1_¥ours!

That I will never, never,

Meyernsay.

I'm not.Proken yet.

BACON (Bowing):
Nor will be, Majesty.

HWELIZABETH:

VhLJnuuLquijflJSnLtumu
We-must-fcrgetlhim.
Break_him_as_he-imuldnbreak us ,
B .

I shall-DSISSBIIEBB.

See him_naemore.Imquriend.

Héffiilks on qui -leoid-him.

Sit_in_chair.d_ue__, in

Sit_in thought a.
moment before
elepping_for_ARMIN.

Shrgwd and quick.__

Hookah-him_to-Comeil-

to_her._

Slow and.deliberate.

QBAQIQXPIW i Ii. .4 .- .. 1

Lean over desk A
slightly to him.

Slower.

162
BACON (Bowing): Yes, Majesty.

”ELIZABETH:

Go now. Go.__You have done_well.
I trust you.

(BACON-bows and goes off R. After
a moment ELIZABETH claps her hands
twice and ARMIN enters R.)

ELIZABETH:

Captain Armin, keep a watch_on
Master_Bacon.

On his house and his correspond-
ence.

I wish to know all he knows.

ARMIN: Yes, Your Majesty. (Bows
and takes a step back.)

-.ELIZABETH:

Wait. I have found you true of
word.
And sure of hand. Moreover you
can keep counsel-~-
What we say now is forever secret
‘between us.
Between us two-~not one other.

ARMIN: I'll hold it so.

ELIZABETH:

It is reported there is an army
risen

Against.me--

ARMIN: God forbid.

_ ELIZABETH:

Itfiis so reported.w The_rebellion
I speak of's

The force Lord Essex has brought
back from Ireland.

I wish to make this preparation
for it. Whatever orders
You_receive_from your superiors,

whatever-broils

Pause, then_firm.fl

nu.o-‘._

Sit.beokflinwohair.---nm

Lessiforyard: calmer.”iw

more thoughtful.

H4 .i

ELLZAEEIB,eits
motionless,wher face
partiallxloovered
with-her-right.hand;
staring_blanklyndown
Re a HQld _ this - through-
outmigllgvlng_dialogue.

163

Qccur, Lord Essex is to have free
access to my presence here.

' Those are my orders.—

ARMIN:
You would be a hostage
If he were in command.

_,ELIZABETH:

I will risk that.

ARMIN:
There would be danger to your
person, Madam.

ELIZABETH:
Be ready for danger-~and if need
be‘7"deatho

(Motions ARMIN to go off. He
dots so, R. There is a sudden
burst of girls' LAUGHTER off L.
and TRESSA runs in, pulling the
FOOL, who is carrying a silk
smock. MARY and ELLEN follow,
all laughing.)

FOOL:

Help! Salvage!
the rescue!

I am boarded by pirates!

Men-at-arms to

MARY:

Thief! Thief! Stop, thief!

ELLEN:
Kill the dirty thief! Fall on him!

TRESSA: \
Can a maid not keep a silk smock?

(These lines are all said as they
enter. The FOOL falls and ELLEN
sits on him.)

ELLEN: I have him now!

(QBTAIN_2loeee.

”TH slowly sinks
back -in. inferential}.
stillmunoonsoiouemof
theirmpresence.

 

164

FOOL:

If you sit on me in that fashion,
darling,

You will regret it. There will be
issue.

ELLEN: What issue?

FOOL: Twins! Seven or eight.
(They ALL laugh. TRESSA sees
ELIZABETH. They all become con-
scious of her presence at the

same time and get up in confusion.)

TRESSA (Terrified): We are sorry,
your Majesty.

ELLEN: What is it? She seems not
to see.

MARY: It's not like her not to
strike us.

TRESSA: We'll be whipped.

FOOL: No, no. She strikes in-
stantly or not at all.

(They ALL go out L., tiptoeing.)

CURTAIN

ACT TWO
SCENE THREE

Scene - The Council Chamber. The
same as Act One, Scene Three,

with the table and chairs cleared.
CECIL is down R. and BURGHLEY at
his L. They are in heated conver—
sation.

BURGHLEY:

Then you have pulled more down
about your ears

Than you thought for here.

CECIL: We have.

BURGHLEY:
I will do what I can.
I had never thought you so rash.

CECIL:

Who could foresee

That she'd make no move against a
rebel? She's known

As well as I that he was in England.
She's known

As well as I that he was still at
the head

Of his expedition, coming this way
by forced marches

In the teeth of her orders. This
constitues civil war,

And he's nearly upon us, yet there's
no preparation

To counter him.

BURGHLEY: But how does she defend
this?

CECIL:

I've not seen her. She'll see no
one. She's been shut up

For days alone.

BURGHLEY:
She will listen to me in this.
She must listen to me.

166

CECIL:

Only lend your voice

Along with mine. We must make
this a war

Whether she wants it or not.

(BACON enters R.)

What's the news now?

BACON:

He was nearer than you thought.
He encamped last night

Not far from the city, and comes
openly down the river

With his whole force.

CECIL: He's upon us, then!
BACON: So the report runs.

BURGHLEY (Quickly): Son, we must
see here

CECIL: She's obdurate.

BURGHLEY:

And I say make another attempt
Before it's too late. If he once
steps foot in this palace,

If they ever meet, it's more than
I can do to save you.

BACON: Why do you think so?

CECIL: You should be aware of
that.

(The FOOL sidles in from L. and
listens.)

BACON:

Then if they meet, you think to
be accused

Of treasonous practices? From the
first day on, my friend,

There has been but one treason in
the world-

It's to be on the losing side.
Whoever line,

167

Be on that side and whatever
you've done is forgiven.

You have never aided Essex that I
remember.

CECIL: But if they meet, and are
friends--

BACON:

Then they meet and are friends--

But do not be so doubtful of the
outcome.

(Two GUARDS enter R. and cross up
to either side of throne. They
are followed by ARMIN.)

CECIL: What is this, Captain?

ARMIN:
We do not know, my Lord.
A guard is ordered for the throne.

CECIL:
Why, good,
She may come out of her cell.

(TRESSA and MARY enter from
down L.)

TRESSA:

It is said

The French Ambassadors will be
received.

MARY: Today--and here?

TRESSA: Why, yes.

RALEIGH (Enters down R. and
crosses to CECIL): She will hold
court this morning?

CECIL: It seems so. Yes.

RALEIGH (To CECIL and BURGHLEY):
This is no day for assemblies.
Essex is leading his army here.

168
(ELLEN and PENELOPE enter L.)
BURGHLEY: He's a madman.
ELLEN: You hear?
PENELOPE: Wait! Wait!
RALEIGH: You have seen her?

FOOL: Not he! But I have seen
her. Why does nobody question me?

CECIL: She has sent out word that
she will speak with no one.

RALEIGH: Is there no officer who
can order out troops without her
sanction?

CECIL: Could we find precedent
for that?

BACON: None that I know of.

TRESSA: Is it true, Sir Francis,
that we are at war?

BACON: No, madam--
TRESSA: This news of Essex--

PENELOPE: Is it a sign of danger
that an English general should
return with his army to the English
capital?

BACON: She speaks sense, this
Mistress Penelope.

RALEIGH: It will be a sign of
danger, perhaps, if the courtyard
runs with blood before evening.

BACON: I will personally drink all
the blood that runs in the court-
yard before evening.

169

PENELOPE (To the GIRLS): And I
will eat all that Sir Walter
kills.

RALEIGH (To BACON): Are you mad
also?

BACON: I think not.

FOOL (Crossing down to BACON):
Mad? Not me. We read the heavens.
Ah, there have been signs and
wonders! The weathercock on the
steeple clapped his wings at mid-
night and crew thrice! That was
for betrayal! Many wise men have
asked this cock to tell them who
is betrayed and by whom, but he is
wise in the manner of weathercocks
and will say nothing! And here is
another portent, too-~-

RALEIGH (Pushing the FOOL aside
and crossing R. to BURGHLEY):
Stop your babble!

FOOL (Continuing): The little
gargoyle over the font gushed with
good white wine all night, and
none there to drink it---and the
conduits throughout Southwark ran
with red Burgundy! Some say it
was blood, but it is well known

it was Burgundy--—You will find
the same under any scaffold! Ask
her Majesty--she will tell you.

ARMIN (Entering R.): My lord,
there are two fellows here who
ask for audience with thd Queen.
CECIL: Who are they?

ARMIN: Players, my Lord.

FOOL (To his bauble): Players,
ducky, players!

ELIZABETH enter down
L. after BEEFEATERS

take,their_places._ns

Slow cross}. .-._--

laughing.

“n

ann..start.crose to
thronelL.

170
CECIL: Tell them to wait.

(ARMIN goes out. A COURIER enters
R.

COURIER (To BURGHLEY): My lord, I
am also bade to bring you certain
news from London. Lord Essex's
house in the Strand is an armed
camp. It is brimming with warlike
nobles, going and coming.

(RALEIGH, after whispering with
CECIL, goes out R.)

FOOL: Huh, huh! It is much more
likely to be brimming with drunken
nobles going and coming brim full!

CECIL (To COURIER): Go. (COURIER
goes out R.)

(There is an offstage CALL of
"Make way for her Majesty, the
Queen!“ This is repeated three
times.)

CECIL: QUiete

(The MEN all bow and the WOMEN
courtesy. Two BEEFEATERS enter
and take their places at either
side of entrance down L. The
two extra COUNCILLORS enter from

"J.R.-andntake.places R.)
--ELIZABETH: Is it true,flthen, my

dear Burghley, that you have taken
to attending the theatre?

BURGHLEY: No, madam.

ELIZABETH: It was not you, then,
who forbade the performance of
RICHARD II without asking my
advice?

BURGHLEY: It was, madam.

 

171

Wit.epe_to._m-mi ELIZABETH: 9;; page ground? A

throne. Nod head

to FOOL. BURGHLEY (Following her): Your
Majesty, the play is treasonous.
It shows the deposition of a
king, and its performance was
procured by rebels.

_§1t. Motion QIBL§-LWWLWLELIZABETH: Bfib3182_WWhat rebels?

to rise.

Settle_baokqin-__-LloLm-
throne;

Smile; tap FOOL mammw_ulw

onmhead.

Moriserioueilw. , . . -

Lighter. Turn to
F00L.memilinsly
pat-h.i_m_.on_. head.

Calmlyimretionellypml

BURGHLEY: I know not, madam. I
have sent for the players to dis-
cover that.

WELIZABETH: You_have sent for

them?

BURGHLEY: Aye, madam-~and they
are here.

ELIZABETH: They will laugh at
you, dear Burghley.

BURGHLEY: Others have laughed
at me, M83 eatyo

ELIZABETH: Theywwill laugh_at
you,_sir, and you will deserve it.
Is my kingdom so shaky that we
dare not listen to a true his-
tory? Are my peOple so easily
led that the sight of a king de-
posed in play will send them
running hither to pull the Queen
out of her chair? Have we not
passion plays in every little
town showing the murder of our
Lord? You are nervous, dear
Burghley. Let these children
play their plays.

CECIL (Step to her): Your Majes-
ty, I fear they are not all
children, and that they mean to
do harm.

_ ELIZABETH: Let.them do.all the
harmlthey can.” Are we too stupid

Quickly.

Unworried, light;
but;wisely.

Qui eLet- firetathen-.-

eudden-break. with
laet_words spoken

angel-1 ._

Deliberate,flyet,,mfl__,M

petifienilyl and
slowly.

Scoff at_their fear
and lack of confidence
in her ability to
control situation.

172

to see that to prohibit a rebell-
ious play is to proclaim our fear
or rebellion?_ Who is there here
who fears a rebellion against me?
I do not.

CECIL: It is dangerous to let
these mutterings grow, dear Queen.

ELIZABETH: ,It is dangerous to
touch them. Let them mutter if
they will. Let them cry out. Let
them run the streets, these chil—
dren. And when they have worn
themselves weary running and cry-
ing_fUp with Essex!_ Down with
Elizabeth!” and got themselves
drunk on mutual pledges, they will
go to bed, sleep soundly and wake
upfwiser.

CECIL (Crossing up to front of
platform): Madam, I entreat you
earnestly that you speak with me
alone for a moment--

ELIZABETH: I received that re-
quest from you earlier in the day,
sir--—and answered it----

BURGHLEY: But if your Majesty
were aware of the nature of this
business-~-

,,ELIZABETH: Imam_aware.LaLord

Essex is on his_Wae hither. (ALL
look around at each other.) I_,
shall be glad to see him., Let
him bring his revolution here.
How long think you it will last
after_I have looked on it and
after it has looked on me?

CECIL: Madam, I beseech you--
let me take charge of this!
(BURGHLEY starts off R.)

Ansrzasituup _in-_-._

173
ELIZABETH: Stay where you are---

""all of you! You, Lord BurghleY:

gmiling fondly. __,,

Laugh. Kick him_so.m.
belroilsadownuetepe.

Q91- QELLEAt.h_-lauEhing .- __ . .
qua1lty.

Nothunderstanding.

surPEAQedLl_.n-

you too! I will have no slipping
away. This court wriggles like a
mess of eels. Stay where you are.
(BURGHLEY stops.) There is to be
no guard posted. There are to be
no steps taken! None!

CECIL: Majestas, adsunt legati
de curia Galliae. Placetne scs
recipere antequam----

ELIZABETH: Nay, bang me not in
Latin. Let the French ambassadors
wait. (The FOOL laughs and lies
prone in front of ELIZABETH.)

You sirrah-—I hear that_you have
fallen in love. Do you wish to
be whipped?

FOOL: I would rather have been
whipped, madam, much rather.

ELIZABETH: Why?
FOOL: It would hurt less.

_ELIZABETH: Good. You shall be

whipped.

FOOL: Madam, if you can Whip it
out of me I will give you my
lucky penny. (Picks himself up.)

ELIZABETH: You shall be whipped
and keep your penny.

FOOL: You would better take it,
Majesty.

ELIZABETH: Your penny?

FOOL: Yes, Majesty, to buy a
whip with for yourself!

ELIZABETH: Aflwhip!

ELIZAIL99k8_at

CQUECILLoRs.fSHIIEI“'“"'

understanding.

QUiCklyL-_...-_.-,, I - _

Sharply. , _'

ELIZ. looks harshly
at PENELOPE.

Look around at GIRLS.--

_£eanweloee_to_bim.a-w._

Suddenlymgehementh_wn

-..r— “A.“ .

throwinim from her

-_-=._...,

174

FOOL: Nay, you had perhaps

better buy several! But in truth,
dear Queen, I have not fallen in
love, only a pretty little strump-
et has fallen in love with me and
I beg leave that we be allowed to
marry. (Bows elaborately.)

ELIZABETH: Is she of the court?
FOOL: Yes, madam.

ELIZABETH: What. are there
strumpets herehat court?

.FOOL: Oh, they are all strumpets

here at court. Some are here be-
cause they are strumpets and some
are strumpets because they are

here, but strumpets they all are.

“ ELIZABETH: Which is it_you wish

t9_marrY7

FOOL: I feel sure it was one of
them, Majesty, but it was dark at
the time-~and in truth I gave her
my word of honor in the dark that
I would make an honest woman of
her by daylight. It is thus that
most marriages are made. (FOOL
has come up to throne quite close
to ELIZABETH.)

LMELIZABETH; How, Fool?

FOOL: In the dark, my lady.
Quite in the dark.

-ELIZABETH (To ARMIN): Takelthie

fool,_Captain, and put him in the
dark for three days with but little
bread and water., I have a distaste
for this fooling. (ARMIN signals
GUARDS who cross and take FOOL.)

FOOL: No, no, madam.

Extreme _anger. Turn
quickly to PENELOPE.

 

.Blttar.userca8tio.,,

Look_a_t._-h_eloii.1.fll_ ,_

-.._--

Qamaletelx_losinss
control..éfl8§11y
lash out at her.

Sudden change_of
mindiibut not in
shagp attggk of
voicelaad.body.
ThelQUARQ§,drop
themL go to_ places.
Long pause, as she
gains oontroI'or
herself.

Jokngly.

fi“'—~_»

175

- ELIZABETH: I_am.tirediofl1our

strumpeta!m_AndflleLihim not see
his_lsdInPenelopemmeanwhile..ilou
will_bemsureloflthatiamistress?

PENELOPE (Cross and courtesy to
her): I have no desire to see
him.

ELIZABETH: Whom_d9 you desire to
see?

PENELOPE: No one, your Majesty.

_ELIZABETH: You lie! This Mistress

Gray, take her too._"Let her have
bread_and.lnifiz! (ARMIN signals
GUARDS who cross and take PENELOPE.
They drag her and the FOOL down L.)

PENELOPE: Your Majesty--what is
this?

ELIZABETH: I_amlkearxkto.death
of-xou!-Iwamwweerx.of_ellmen
and women..but.more of you.than
any! You have written. You have
had letters! I say. take her out
of my gight_! Whi th_em first,
whip them bo_th{ ay, leave them
here. leave them.-knavee--eleave
them! Damn you, do you hear me!
You are too.quiokoto obey orders.
You beef-witted,bastards!

And now let us _have entertainment,
gentle lords! Let us _be merry!
The players are here! Let us_have

a plgy!

HERALD (Runs in to ELIZABETH from
down R. without ceremony, calling
out as he comes): Your Majesty,
your Majesty! Lord Scroop sends
me from the city to tell you there
is a rising in London! There is

a mob rising in the city!

ELIZA§§133 What==are_yog plgyggg_
RICHARD_II-forWus?

 

More relaxed now
in control of _self.

...I-...— -_.d .1

Slight pause before
1a5§-linfigfi_un_

_—--_.-

Treat following_ lines_m
calmlyL_combining
laughter "at“ those
who are afraid with
serious interest in
the situation.

Glance scornfully

at CECIL.

T9_BUBGELEXA*$eemiBgmMm.

disinterest, yet
intense seriousness.

_ELIZABETH:

,ELIZABETH:

-ELIZABETH:

176
HERALD: NO, no, your Majesty! A
great number Of people came
through Fleet Street~-and they
have sacked a grocer's and broken
into a wine-merchant's cellar! It
is said they will break into Fleet
Prison and set all free---

ELIZABETH: Not they. If they: ve.
broken into a wine- cellar they'll
get no farther. We' re a marvelous
people, we English, but we cannot
hold liquor. Now if they were
SOOtOh One might worry. What are
EEQXA93Y4DS:_t3¢3° wine7drinkers?

HERALD: I cannot tell you that,
your Majesty.

Are they not crying
"Up with Essex!" “Down with
Elizabeth!"

HERALD: Yes, madam!

What

Why, surely.l "
Up

else would they be “crying?..
with Essex! Viva!“ Down with
Elizabeth! A bas!" "The Queen
is dead. Long live the King."
If I were there I would cry it

myself. It has a marvelous
ring! “Up with Essex!“ ”Down
with Elizabethl'

BURGHLEY (Step to her): What

are we to do, Madam?

ELIZABETH: WhatLismtheqLord
Mayor doing about all this,
sirrah?
HERALD: Nothing, madam.

How like a Lord Mayor,
and how sensible. That's the

first principle of government.
Never do anything.‘ Let the

Almost_unnoticeable
physical stiffening
as she hears this._

leéiflfiellberate.h_u

fiarsastigimqqmmandins.

§llgh§wPHQ§°t

Grac;098.mm-

Following speeches,
she' a th_reatening,
but in.plaxtul-way.

Pretendflseriousness.

Quick lance at _ ”_
BURGHL Y and_CECIL,
BCQEBIEllY-

m.complement ofhsoldiers.

“ELIZABETH:

177

others make all the mistakes.
Go, sirrah!

RALEIGH (Enters R., pushing the
HERALD aside as he does so.

HERALD goes off R. RALEIGH crosses
to throne): Majesty, Lord Essex

is landing from the river with a

As captain
of Your Majesty's guard, I ask
authority to act immediately. I
alone will be responsible if he
enters here.

No, Sir Walter, I
alone will be responsible.

RALEIGH: I have permission to
go?
,ELIZABETH: go, you have not. I

take enormous pleasure in your
presence here. Where are the
players? I would speak with the
players. (BURBAGE and HEMMINGS
enter down R. RALEIGH Joins
CECIL, BURGHLEY, and BACON up 0. )

, Ah, yes, bold Burbage and hand~

some Hemmings. Well, my masters,
I hear you have come to me to
have your noses slit and your
thumbs branded.

BURBAGE (Both are kneeling):
Only if unavoidable, your Majesty.

ELIZABETH: You have put_on a
playLHIwbelieve.

BURBAGE: Many, your Majesty.
ELIZABETH. You have revived the
old play of RICHARD II, including
in it the deposition scene which
was censored on its first presen-

tation, and you have done this to
foster treasonous projects.

Quickly.i_maw

Motion them to rise,

PQAQ3_stih.ie stomach.-

Disbelievinggwm.

Shrewd.__

Completely ignore -H-W
BURGHLEY.

Still slightly

 

tfiréfitEnIng.""““mw"”m“'

Sudden change, ._
gracious and charming.

_ELIZABETH:

178

BURBAGE:
swear it.

No, your Majesty, I

ELIZABETH:
thisiplay?

You have not played

BURBAGE: But not to foster treason,
that I swear.

ELIZABETH: If you played King
Richard with that pot-belly, it
was treason indeed. Then for
what purpose did you play this
play?

BURBAGE: To make money.

What? On_an old play?
BURBAGE: We were paid in advance.

ELIZABETH: Always an advantage.
An_d_ what fool _paid_ you_ in ad_vance?

BURBAGE: My Lord Southampton.
BURGHLEY: You see? A friend of
Essex.

_ “ELIZABETH: You, Master Hemmings,

have much too handsome a nose for
slitting, yet you say nothing.
(HEMMINGS steps forward, kneels.)

HEMMINGS: There is only this to
say, your Majesty, that we knew
nothing of any traitorous intent
in the matter.

ELIZABETH: How much weregyou
Paid for the revival of Richard?

HEMMINGS: Three pounds, Your
Majesty.
ELIZABETH: If you act_no better

than_you lie, it was worth thrip-
ence. (HEMMINGS rise.) But the

179

Thesnianmitch ismnn me. I too am
suddenly beggms-s.patron_pf_the
drsmssi_3lsx it.assin this after-
neoni_mx_mssters.iiklayvit again
at my request this afterngon and
ou shall have_tenfip9unds for it.
(CECIL step out.) Lord:Cecil,
231_Mss£§r Esrhsse_§se p9unda.from
the Rsyal‘Exshe_uer for one per-
formanssigfifllggABDMand.let.it
Btsnd in the record. (CECIL step

 

 

 

 

Blessed atiowanm"l__ilnuhack.) And tell Lord Southampton
generosAty. when_you see him that IApaidAthn

Quiet determination.

to séapihxssqntA dashes X9u have
éliagimthisetresson.out of your
8Estemsiihe_rsadyntniplay_SirmJohn
Falstaff_fgrimesat,theusnd.ofuthe
week.,HI-shouldwlihe.tons§esyour
Falgfigffiagain. air. (The PLAYERS
bow and go off R.)

CECIL (Crossing up to first step
of throne at her R.): You are
mad, Your Majesty: This is a
rebellion. Half the town 13 in
uprising:

ELIZABETH: I know1mluks9w.

 

uie n _m ________

1.333...

L2Q§.hsrd-st.himimm-,is-

Vshssssply.snd-de-
lAEsrstely.

Quiséllii-

a. ,

CECIL: Madam---_

ELIZABETH: LLEtle mahi_ll1&le
man, let me alone:

 

CECIL: This much I must tell you.
If you take no steps both you and
your kingdom are at the mercy of
the Earl.

ELIZABETH: What are xpu.tryins to
save~here--myikingdommprAygur
hides?

BURGHLEY (Stepping to her): Madam,
must we remain unprotected from
the waterside?

EELAABETH: Yesi-

 

0‘

FIGURE 6

Act II, scene 3.
“You come with a file of soldiers
at your back, my Lord of Essex.“

 

Losinghcontrol.

ELIZABEIH_rifinfi_quick-
IYWEhenIYQIQES_begin.

Topping them all.

As ESSEXmentersiwshe _.

ESEESMQQld.of arms
0: throne. almost
ready to break, but
firmlxmoontroling
herself.oTheneepeak
calmly.

Sit_inlthronsii.iil__-U-.

‘ELIZABETH:

”ELIZABETH:

180

CECIL: I took the liberty of or-
dering a guard posted along the
water.

__“‘ You posted a guard
aseiaekmzworderezw 1! I_had want-
ed a guard at the river I would
have placed one there myself:

(A sudden snarl of angry VOICES
breaks in on the conference.)

VOICES:
Way for Lord Essex.

Who has given these orders?
The Queen—-defend the Queen.
Not the Queen, by God--—

An Essex!

Stand back, fellow!

(RALEIGH, BURGHLEY, CECIL, etc.
make a move to guard the entrance.
ELIZABETH stops them with:)

.ELIZABETH: Stand back, my Lords.
Let him enter.

(ESSEX_appeare in the doorway down
R. He enters the room, followed
by MARVEL and four MEN-AT-ARMS.
These latter stand in the entrance
R. with their pikes ointed into
the Council Chamber.

You come with a file of soldiers
at Your_ba0ki my LQIQWQIHEBSBX.

ESSEX: Do I need them, your
Majesty?

NO.

ESSEX: You have your orders,
Marvel. Stay with your men.
(The SOLDIERS and MARVEL file

StrongihuLwi.th_. 110..

trsoemofmanger.

assimiLsognsLhim---“
out; stillflcalm.

 

B__egi_n_to_get--sharn.___--.._.-__

Burst out angrilyAW,“ I

Sarcastic.

 

9u¥9kll;mn__

181

out R.) They told me you would
not see me.

.--ELIZABET33 They were wrong.i I

will_see you. It seems you are in
rebellion. State your grievance,

if you have grievance.o For myself,
I have a great affection for rebels,
being one myself much of the time.

ESSEX:

As to my being a rebel, that's for
you to judge,

But being newly arrived from
Ireland, and bearing news

Of your subjects there, I venture
to come to see you.

WELIZABETH: And your army?-~~You

have an army_with you?

ESSEX: I have brought my men home
to London.

--ELIZABETH:

You,received
My orders, no doubt, directing you
tohdisband?

ESSEX:

I did. But is your Majesty not
aware that

An army turned loose

Becomes a mob?

H-ELIZABETH:

And you tell me.this?, You are
informed in these matters
But_Iwamjnot.

ESSEX:

Indeed, that is quite true---

I do know about armies--and you
do not.

.MWELIZABETH:

Oh, yes---
Oh, indeed. And who paid them
' ' then?_WI_believe

Surprised_atufrank.-w”-wfl

aQQ_QP§QWenswers.

Slight pause.-then.m-

182
XQHELSUPPlies_were out off?
ESSEX: I have paid them.

ELIZABETH:
Ibeyaare.then
In your service?

ESSEX:
In my service and therefore
Devoted yours.

W-ELIZABETH: 5nd Ireland? How of

calmer. Ireland.
ESSEX:
I could have conquered Ireland
had you given me time.
I left it worse than I found it.
mnqt_lpokinswatwhim.LawnmLELIZABBTH:
Sincerei. Anwhonest answer.

Quickezi_e§erfi-te..w.

griilwhim.

Top himi,buildingh_mw_

 

Quigker-etill..um

a,

o- —-.--A

At any rate.

ESSEX:

Why should I lie? The fault,

If any, was yours. To conquer
Ireland requires

More than the months you gave me.
Years, perhaps.

__ELIZABETH:

Yguwwere engaged in subduing the
rebels, then,
When I summoned you home?

ESSEX: Just so.

.mmMELlZABETH:

You were not, by chance,
Joined_with the rebels?

ESSEX: Never.
ELIZABETH:

”You held no parleys

WithflourfifriendHTyrone?

Missy. Men“-..
out_e.t__him_-xehement-

11:

183

plan.
-ELIZABETH:

Your plan!” Your plan! Why did
you write me nothing

0.1:- this, I your..- plan? Am ,I a
witch to find out

KARI: ha emanate? Laramie,“
the rish sea

Withoutnbeing,told?

 

ESSEX: I wrote you---

Goniinuucmefnlm... --mZABETH:

with_note_nfisaraasm
and bitterness.

Wkly
from him IQLCQUNCIL-
waning... -comr .
pletely surprised.

Suspiciou l L__.”m_-mm"

Ri m_ --M
Threatening,gwarning.

 

Meeterlxilettere.

B_ri ef, to, th_e..point..-xasting,no
Egrdfi:

12.2mm :-..r!9..tbins-

ESSEX:

I know not what your Majesty
means

By that. I wrote you fully, and
in answer

_ Hagen ed no. reply.

ELIZABETH: Youmwrgtekme?
ESSEX: Many times.
““ELIZABETH: And hadhng letters
Regine?
ESSEX: None.
,EIIZABETH:

Before God,

Imawjmd
simmers- shalthe

Somemnechnmaireiehed_h§£§1iEM!

Loresi_l_.ui_sh._to.. sneak
With Hard Escalahere alone:

LEE! 9.. .u s .

 

CECIL (Cross to throne):
Dear Queen,
Do you think it safe---

184

Almo§§w§h_guting._m ._ ELIZABETH:
composes self _as they Leave Mus,
leave. Then quietly, (The room is silently emptied.)
to him._ That did you write me?
ESSEX:

I wrote you my love—-for I thought
you loved me then--

And then I pled with you not to
bring me home

In the midst of my mission-~and
then at last angrily--

For I had not heard--but always
to say I loved you--—

Always.

Imploring.-._-._,,--_o ,. ,, ., ELIZABETH: Butwisnthis true?
ESSEX: Would I lie?

Deeperate,_yetm _._- _,_ELIZABETH:
determined. Someone
Has lied and will pay with his
life it this is true:---
Before God and hell-~someone
wilTfipawaorwthis:

ESSEX: What did you write to

me?
Wmssoond--_m”ELIZABETH:
step of platform. _Iuwrote--my_love-—-
Turn away fr_om him. God keep you safe-—-I know not-

and then, not hearing,
I wrote God knows what madness--
“”” as to a rebel---
Thinking you no longer mine---
faithless.
Thinking:

ESSEX:

I would I had known-- I was in
torment-~-

I—--forgive me-- (Cross and kneel

before her.)

Take hi§_facegin_hermm_ ELIZABETH:
hSQQEA.Kind, gentle. You should never have gone away.

“..._.-“won

 

185

,, -.--

fiandééflteuputayeuwto”torture:

ESSEX (Rises): I have been in
torture. (Starts to take her
in his arms.)

Crass.ga1nLsIsnl_Io_§il_LELIZABETH=

Turn t9_ him.
Anggt imploring.

As soft and loving as
possible. Extend her
armS”to him.‘

Lookmetmhimi_kindafl_WMw-

anqwrersiyineo

Lean down _to_ him
Slightly

Look upmaad away,_.

..._.q . -- --~._. ‘. C...-

Slight_ note _of sad—
nese.

_"JELIZABETH:

Not et--- I can t breathenyet-
i_§ehlilhreathe--

0r think orwhelieye--

cah" we ever:—

"Believe_again?
Can it be as it used tombs?

ESSEX: We can make it so.

BELIZABETH:

Gomei.kill.ms.if_1nunnill.. Putlrour
arms round ”me---
I{_ypu love me

223

 

.-..

ESSEX (Kneels before her, his arms
around her waist): Yes.

-ELIZABETH:

Yesiileae--

prthis were fale_e, then, then
truly--then I should die.

I thought _becanfle I wan.nlder-—
you see-~some0ne_eIsefe-

ESSEX: No one--never a breath-—-

-_ . .l£_i£_alli_allias
before}

ESSEX: We have not changed?

ELIZABETH:
No. YesLfia little,_perhaps.
They have changed us.a little.

ESSEX:
Not I. I have not changed.
Sweet, think back, all those

months,

.Lovlnglxtll.

TsksmhislbaCk.t°‘
throne.

C£2§§_lefiouthrone..

186

All those hideous months!

No word, no love,

And when word did come, it was to
make me prisoner.

Christ! I have pride!

And though I came here in defiance,
I came truly to find you

Who have been lost from me.

, ELIZABETH:

Do you ask forgiveness?
Ituisuallnforgiven.

ESSEX (Rising and taking her in

his arms):

Then hell's vanished--and here's
heaven

Risen out of it--a little heaven
of years

In the midst of desolate centuries.

ELIZABETH:

‘ We have so few years.

Let us make them doubly sweet,
these years we have--

39 gracious with each other---
sway a little

To left or right if we must to
stay together--

Never distrust each other--nay,
distrust

All others, when they whisper.
Let_us make this our pact

Now, for the fates are desperate
to part us

And the very gods envy this
happiness

We pluck out of loss-and death.

ESSEX (Cross up to ELIZABETH):

If two stand shoulder to shoulder
against the gods,

Happy together, the gods themselves
are helpless

Against them, while they stand so.

(He kisses her.)

anill_in_hlalernelnufl-_

after kisslnhold_to
fiIQ.§lQ§§IXo

LQQElnE-§£_h}@-

‘.- .- ..._..-

‘Imhlnnhwatu throne .

Turn to him.
Pause, step back.

Sincerely.

187

,ELIZABETH:

Level I will be
XouLeauQL Command 1116.. What

-‘~—~ - ._

would you have?
ESSEX: Why, nothing--
ELIZABETH:

“ 'fik‘é‘ifil’h ‘ myqurlg..- .1111 ..arzaaent

 

in your hands!

Y99-e.h.a,l_l- .e-tend.-_hs9k worm. chair
and together we

shall build an England.to.make
the old world wonder

And the new world worship. (ESSEX

look R.)

Nay. What is this...d9ubt.,.in your
brawl,

 

ESSEX:

I am troubled to be dishonest.

I have brought my armies here to
the palace

And though it's all true what we
have said-—

No letters--utter agony over
long months-——

It is something in myself that
has made me do this.

Not Cecil——not-- No one but my-
8911..

The rest is all excuse.

(Takes a step away.)

ELIZABETH: Speak. What. youjill-

ESSEX (Cross to lower level):

If you had but shown anger I
could have spoken

Easily. It's not easy now.

But speak I must. Oh, I've
thought much of this,

Thinking of you and me. And I
say this now

In all friendliness and love—-

The throne is yours by right of
descent and by

Possession--but if this were a

ELIZABEIH_Iekee a

step back, bewildered. _

QpiéPllflgfi quite .
understandingflyet.

Quipkl.§fir0n89ro_

Push him away from ,
her to lower level.
Still_oalmllezp1a1n-
ing rationally, but
firmly.

188

freer time,

If_there were elections,

I should carry the country before
me. And this being true,

And we being equal in love, should
we not be equal

In power as well?

ELIZABETH: _We are equal. I have

' made you so.

ESSEX:

Yes, but still it's all yours--
yours to grant me now

Or take away.

.BLIZABETH: How could this well

bgugtherwlee?

ESSEX:

Am I not--and I say this too in
all love--

As worthy to be King as you to
be Queen?

Must you be sovereign alone?

ELIZABETH:

Xou are young in policy,

MyflEssex, if you do not know that
if I

Should grant high place to you
now it would show 111 to the
kingdom---

Itgwould be believed that you had
forced this on me,

Would be called a revolution. It
would undermine

All confidence. What is built up

for years
In people's minds blows away like
thistledown
When such things get abroad.
ESSEX:

But is this your reason,
Or have you another? Would you
trust me as King?

189

 

 

 

Qgigk. Stepmln front _ELIZABETH: 39,
of throne.
“ ESSEX:

And are you reluctant still to

give up

Your prerogatives?
Yerymfirmly._mim~_umoluu ELIZABETH: Xee.

ESSEX (Stepping to her):
ELIZ isnstmfirst Then now, when the country is
surprised, hurt. be- mine, the court in my hands,
wildered. Then cold, You my prisoner, I must send my
distant-and the men away,
haughty monarch. Disband my army, give back your

Kingdom to you,
And know I have been King for a
moment only
And never will be again?
922lm9§19u1§t1999"M_ , ”EEIEABETH: {_am your prisoner?
ESSEX:
The palace and the city are in
my hands.
This England is mine now for the
taking.

Bitter, harsh.___f ’._ ELIZABETH:
This is your friendship:
This is your love!

ESSEX (Stepping to level of throne):

As water finds its level, so power
goes

To him who can use it and soon or
late the name

Of King follows where power is.

 

398119931183. othen- _ -. ELIZABETH:

Speak slowly and Kowll_dooknow_etmleast

deliberately. What_it was you wanted. You

Cross down stairs wanted mnyingdom. "

t__9.,_back to him- Iou_have_it.
Make_the.best_of_1t.w And 80

Turn to him sharply. shall I.

 

_vfim— . —-.—-——

'“"“””“Wh§f”are your plans?

With all the mock
heroics of a martyr.

 

9x14912999 angry.“ . __

Calmer, but losing

none _Of the intensity."

WM
line. then .121 tterln.

Wronhim- cros s
f?" S?°P8_B-m_

ELIZ. instinctiyslkm-

 

stiffen when he
touches. -.her .

190
ESSEX: I have none.

__ 3 ELIZABETH:

-Mww»-\

The Tower,._the block--

You could hardly take a queen
prisoner and have_ no thought_

Of her destiny.

I am my mother' s daughter.

I, too, can walk the_path my
mother walked.

 

ESSEX: These are heroics. You
know you are free as air.

3 ELIZABETE: If I do as_you gag.

 

ESSEX:

Is it so hard to share your power
with your love?

I could have all-~and I offer to
share with you.

ELIZABETH:
Why all this talk of power?
No army_ opposed you when

5:911:th came thalroaglfrom

Ireland._ - No-3uard1ss. set
To stop your entrance _here now
that_you have some to see
me with your thoufiahd hal-
herds.
Shall I tell youw hy? Beggggp
wished to keep_peacs be twee
us!

And for that, I am‘your_prisoner.

WW 0 e»-.-

 

I
on

 

ESSEX: Still my dear prisoner.

ELIZABETH:
Let's have no more pretending.

- You_dn not _love me-enonanor want

‘me.

‘HESSEX (Cross and take hold of

her arms):

God knows I want you. I have
wanted power--

Believed myself fitted to hold it--

But not without you.

Loosemherselfflfrom.mo
him. turn,_face_him.

not angry, but_strong
withlnold_obiectlvlty.

Turn from him._..

Almost ready_to _
breakulbut_won't
allowwherself.

Look straight_ehead;.i
face immobile.

Longhpauseilrelaxflbody.
turn tomhim.

 

Crosslto;throneL_Turn.m-

speak last_line as
coldlxmeaopoesible-
Extend handnto_him.

191

ELIZABETH:

If you wanted me, would you rsie
tand strike at

Me with an army?

Never. _You'd have_come

To me quietly, and we'd have
talked of it together

Asfilovers should--and we'd both
have our way--

And none the wiser--but not--to
take the palace,

Hold me prisoner—-no-—what you
truly wanted you've taken--

And that is all you shall have.
This is your Kingdom-~—

But Ie--I am not yours.

ESSEX (Taking hold of her again):
But I am yours
And always have been.

_UWELIZABETH:

If I could have given freely.
But not to a victor. Put me where
I will do_least harm.

ESSEX:

I cannot, could not, will not.

I ask one word from you. Give me
this one word--and

These soldiers shall leave and
you shall be free.

ELIZABETH:
I'll believe that
When it happens.

ESSEX:
promise.

I'll believe you when you

.ELIZABETH:

Then I promise.
You shall share the realm with me.
As”; am_Queen.“I promise it.

ESSEX (Crosses to her kisses her
hand, then crosses R.):

Then this is my answer. (He calls.)

ELIZABETE_stand
motignless,in_front of
throne, the hard lines
ofIEEwaace_showing
the—dééision she is
sagas g.” ' '

§l5_slawl1.inmthroneamum-
Through all of follow-
ing, ELIZ. stares

blanklyfat“ESSEX.

192

Marvel:----Marvel:

(MARVEL enters down R.)

Carry out the order of release.
Dismiss my guard—-—

Return the palace into the
Queen's hand.

Retire with all our forces to
the Strand.

Release all prisoners. Release
the Queen's guard

And send them to their stations.

(MARVEL goes off R.)

The palace will be

Returned as quickly as taken.

This is our last quarrel.

EleAEETH: Y38::f0ur’188te

MARVEL'S VOICE (Off stage): Form
for retire:

ANOTHER VOICE: Form for retire:

A MORE DISTANT VOICE: Form for
retire:

A VOICE (In the distance): Ready
to march:

ANOTHER VOICE: Ready to march:
ANOTHER: All ready.
ANOTHER: Ready, Captain.

(There is a sound of TRAMPING
offltage.)

MARVEL (Enters down R.): The
order is obeyed, my Lord.

ESSEX: Follow your men.

MARVEL: Yes, my Lord. (Goes out
R.

ESSEX (Crossing to ELIZABETH):
It is as I planned. They are
leaving the palace.

ImmobileL

More tense.

 

Push_him.a_wey_ss__h_e--.. ._

startslth_clapi She
claps_harohsnda four
times.

Look_ha£diat_ESSEX.

*, -~*-—-.A~ - ..

193

Now let us talk no more of this
tonight--(Kneels at her R.)

Let us forget this matter of
thrones and kingdoms

And be but you and me for awhile.

ELIZABETH:

1:33:18 8 -: f“. .

Let_usiforgst._
Hm—xwm- i weed. ?

ESSEX: I have kept my word.

-MELIZABETH:
If Il91apped my heads w9919.my
ahead
Come-noweeor_yours?
ESSEX: Yours only. Shall I call
them?
”ELIZABETH:

2::1L11_calllthem.
(ARMIN and four GUARDS with hal—
berds enter down R.)
Tslha_surs.l have a guard
Once_mnre.
(To ARMIN):
Thelpslaqglhssmheenireturned?. It

ismin

Ourihsnda?

ARMIN:
Yes, Majesty.

ELIZABETH}

 

First_three lines are
cruellinlthslr-cold-
Hessiaaé_§low delib-
eration.

Longpause, then with
qyiet intensity.fiLast
two_lineslalmnstus
QTY-for extreme_anser
& res: shalllmohanse
hermmind.

 

I_ha1elrulsdlEnglandlallongmtime,
_my-Esse;.

And_l- ha,v_e__f.ound_ maths--.th $9.1M
rulelmustlhs-

Quitelfriendless.-withahtmhg£9x3~

_er;without lovg._f
Arreat_iardwwsaex.

AzzestlhordaEssexia,Takelhimito

‘ the.Tower-—-
Andlkeeplhimwsafe.

ESSEX: Is this a Jest?

Hold intensity and_h_w__

force of volume.

Angry, bitter, sharp.

Hold_same_degree of_m,

intensity._When_he
throws sword to
floor,_ELIZ. stares
at it, unable to take
eyes from it. As CUR-
TAIN closes, collapse
back in throne, still
Magnesia. sword.

194

ELIZABETH:

I,never

Jest when I play for kingdoms, my
LQI'QHQ f_ _E 8 sex 9

ESSEX: I trusted you.

ELIZABETH:

I trusted you.

And learned from you that no One
can be trusted.

I will remember that.

ESSEX:

Lest that should be all

You ever have to remember, your
Majesty,

Take care what you do.

"_ELIZABETH:

Labelltake care.

(ESSEX unsheaths his sword, pre-
sents hilt in surrender, then
flings it at the foot of the
throne, turns and walks out be—
tween the two files of GUARDS.
ARMIN follows them out R.)

CURTAIN

ACT THREE

Scene - the Queen's apartments in
the Tower. A big and heavy room
with a raised stone platform up L.
on which stands a regal chair. On
the platform to the left of the
chair is a cushion. Up R. is a
low chest. There is a trap down
C. in which is a large iron ring.
The trap is closed. It is dawn.
The light filtering through the
windows. The FOOL is dozing on
the floor below the chest. ELLEN
is leaning against the wall R.,
sobbing. TRESSA enters down L.
and goes to ELLEN.

TRESSL:

Come back quickly, dear, quickly.

She is sorry she hurt you.

She Kill have no one else read to
er.

ELLEN (Sobbing):

I can't read now.

I'm-~I don't mind if she strikes
me--

Only it wasn't my fault.

We're all so weary.

TRESSA (Comforting her): She's
sorry---

FOOL (In a daze, counting the
GIRLS): One, two, there should
be three-~-

MARY (Off stage): Ellen!

FOOL: Three:

MARY (In doorway L.): Ellen:
She wants you at once.

FOOL: Where am I?

MARY: Yes-~and what are you doing
there?

196
FOOL: Trying to sleep.
MARY: Sleep? In the Tower?

FOOL: Come and help me.
I've heard that you are perfect
at lying down.

(The GIRLS ignore him and go off
L. The CHIME rings five. The
FOOL counts the hour on his hand,
then remembering his breakfast,
crosses to above chest, where
there is a platter with a capon
on it. He crosses then to plat-
form and sits on the first step
at Right of chair. PENELOPE
enters L. and crosses to 0. She
is staring at the trap. As hhe
approaches the FOOL he speaks.)

FOOL: Penelope: (She sits L.
of FOOL on step.) Have you slept?

PENELOPE: No.

FOOL: Then you should break your
fast. Are you hungry?

PENELOPE: No. I can't eat.
FOOL (Showing her his capon):
Look—--breskfast. I brought it
yesterday from Whitehall.
PENELOPE: Eat it, then.

FOOL: You won't have any?
PENELOPE: NO.

FOOL (Putting the platter on the
platform): I'm not hungry either.

PENELOPE: Eat it, poor fool.

FOOL: I don't want it. I brought
it for you.

197

PENELOPE: I know. But eat it.
(Sobs slightly.)

FOOL: Why should you weep?

PENELOPE: God knows. He never
wept for me.

FOOL: The Earl's not dead yet,
remember.

PENELOPE: No.

FOOL (Reassuringly): And she'll
never let it happen.

PENELOPE (Looking off L.): The
clock's struck five. He's to die
at six.

FOOL: Why has she not sent to
him?

PENELOPE: We were awake all
night. She's been waiting for
word from him. (The FOOL crosses
and puts his ear to trap. He is
lying prone over the trap.) But
he's as silent as if he wanted to
die.

FOOL (Listening): He's silent.
Will she let them kill him if he
says nothing?

PENELOPE: bhe wants him to beg
her pardon--or something like
that.

FOOL: Would you beg her pardon
if you were he? (Rising to a
sitting position.)

PENELOPE: No.

FOOL (Full of meaning): Then he
won't. For I think he's as proud
as you.

9££§£saais_lnsaem-i-
teaser.

Stride_inixery angri-
ly. Cross C._1ust l.
Of trap. StOp _sudden-
lx_at_§igh_"9fwtrap.
then turn slowly to
asc_end throne. Sit.
Lookusteadily _at
trapiialmoet.b1tter.
but_slownandnthought-
ful . Sharp command .

 

198

PENELOPE: He's not said a word
or sent a message since his arrest.

FOOL (Crosses and sits R. Of
PENELOPE): And the Queen has not
slept?

PENELOPE: NO.
FOOL: Nor you?
PENELOPE: NO.

FOOL: God help these women.
(Puts his head in her lap.)

PENELOPE (Very emotional): She
says she gave him a ring once. If
he ever wanted forgiveness he was
to send the ring. And he sits
there stubbornly with the ring on
his finger. Oh, God, will nothing
happen?

ELIZABETH: Penglopg, havg the

" plmyers_eom_e‘1gt?

PENELOPE (Who has crossed to
door L.): Not yet your Majesty.

ELIZABETH These_ cheating grooms'
I' 11 have them carbonadoed for thig
dallyins: “Bring mewphe.little
book_of prayers from the window-
sill. (PENELOPE starts to go.)

No. leave it. (PENELOPE stops.)
The_gOds Of me_n_a§e -silligr than
their kings and_ ggeensg-and

emptier and more powerless. ,Thgrg

is nO_gOd_ but death Did I nOt
tell you to bring me the bOOk?

 

PENELOPE (Calling off L.): Yes,
your Majesty. The book of
prayer. (ELLEN hands the book
through the doorway.)

EQMEOOL who has taken___

up platter. Tired,fibut

kind.hGentle,*motherlyn_

attitudenwith,PENELOPE
thrOughout following
dialogue.

HeaitantIYe

L22Leva1£rqm __her..__ .. _
§Q_§E§PQ

PutOhandhonvher-head._u_

aeathOughwcomforting
a small child.

Lean forward. I-

Holdhherflbend.u.

.5. -.

Beleass_herwhandiisqid
sinkmbeek_inwthrone.

ELIZABETH:

”below chest.)

..ELIZABETH:

.-ELIZABETH:

..ELIZABETH:

--ELIZABETH:

199

Go gnaw your bones
(FOOL crosses to
Come here, my
dear. (PENELOPE crosses up and
sits on platform R. of ELIZABETH,

elsewhere.

handing her the book.) ,Iwheard

the clock_strike five.

PENELOPE: Yes. I heard it.

ELIZABETH: Do_you_love_him well.

slidear?

PENELOPE: Yes, your Majesty.
_"M_ELIZABETH: Imlove him. He has

never loved me.

PENELOPE (Facing front): Yes,

yes. He does love you. I've

been Jealous of you.
Offlmetm.Peornchild.

PENELOPE (Leaning toward her):
But he loved you-~and never me
at all.

Houmdamzsuflknow?

PENELOPE: He told me.

What did he say?

PENELOPE: He said, 'I love her
dearly.” I wanted him for myself,
and I warned him against ou. He
laughed at me. He said, I love
her very dearly.‘I (Says this
sobbing.)

You tell me this
because you want_to save_him.

PENELOPE:
true.

No, dear Queen, it's

Look out ast tra .
blanklx.,m“alm
realizationl,as

though talkingflpo
herself. Turn

shalouslx-§9ah§rqfl-_

Immobile again.

Stare out; her ragg__~

 

ahaflgsjlrfifu: ”41.49.—

tortions of old age.

thwl._~.~_.-” ..w _—

Calmlx_read'rrom

9.---” .

prayer b00k17haiili“
audible.

ELIZ._1Iop; her read-__.

ing suddenly. Rise,
throu_hoota1n§o PEN-
ELQEEJE lap. Cross.
dogn off platform

to C.._then turn and
loogmogwa, Outburst
of anger.

EELLZABETH3

.ELIZABETH:

-MELIZABETH:

200

This is the and ot
me. I've been afilgngflfilggfilearn-
in . Eytulfrewlparneduit now.
E§_3"Is bitter. rNobody dies
happy, queen or no.w Will he d
sgeaka think yougwnmlllmhe son

to me

 

PENELOPE: No, not now.

19.9..993Lthia - 4.9 r. the
end_g;.me.

PENELOPE (3:111 sobbing.) No, no.

0h.w1“§h§11~llye.u I
Bhgll_!§l§ about and give orders--
a horribleawhile::adhorrible old
hi8;:;;f!¢.hfllflbll beseech thee, 0

”’wFa£h§3.amgrolrulll-t° 1°°k-“p°n

our_1nf1rmltlss, and_ror the
glorx_oIHIhyflnamesake_turn from
us those evilsfitha§_ye_must
righteouelywhavs.fiasarved. A
grant thax_ln allwouratroubles we
may gut our whole trust in Thy

mercy._ And evermore---

 

PENELOPE (Speaking through the

prayer):

You must send for him.

He's as proud as you are.

He'll say nothing. You must send
for him. Bring him here.

(IhemgfilMEarlngsnnhenquazIerahour.)

ELIZABETH:

Where are thgrplayere?fln;'e§np_§9r
the. plmrgmhgarg -aaoI“

Mar¥1..1rsssa:

Gog”; head:L.Ilamha§t;gllz,§9rvod:

EllenI*'(ELLEN appears in the L.

doorway e .

51.1.99M923321h9. plaersare. here-

ELLEN: Yes, madam.

Haiignguhqrwptf..

To PENELOPE.

turnifliito him,

 

Cross 3. to him.
An_s_er 3999mm

Eng closest t0
laughing she could
get in this act.
Lighter. more human.

ths_hothsrlxu_-

attitudei_desire to
tshaugs£§-9£"him.
Easel down beside
him_and take his
face in her hand.

Sincere eafimglgéxiii

201
ELIZABETH:

Be nick.
(ELLEN goes off L.)
Where's my tool?

FOOL: Here, madam.

i..i§LlZABETH:

E22£s_s£2_xguixh ailinssd_xnnz-
Logk at the psi: He starts to

speak.)
Eatingininsi.ixgulre_runnzisnaushi

.ouiarsmuithixouninannnain
your-..r!99§h1
Ea 1.7Eet me session,
FOOL: I don't seem to be hungry.
ELIZABETH: Eat,.1flga1}

FOOL: Yes, madam. (Tries to eat.)

“ELIQAQETH:

Nswoxips_19uriiihsers.

Hero -£s£s_!zinsp§insi-9hild.
(He takes it, making no move to
“.8 it.)
Cong“@2223“szggizgidissuatins.
Oaa_youiho§“gleanmxourizace7

FOOL: With this?
ELIZABETH:

a —. 7—,

°*""““‘gj_e_,_jwiih..that. Uh! <10 3°“ ”1"—

Lean close to him.

Rise: slowly. lgélli.,

 

mouthsstilt?..1t's.clean.
(He takes the kerohiet and then
starts to cry.)

What is it now? What good's a
'19é1;§h§t75i13i'w" "”W A
When you nesé comfort? What's

the matter?

POOL (Still sobbing): Please, I
don't know. You aren't like the
Queen.

MUELIZABETH:

And_xoniarenlt,liks_thsi1nnl.
Laugh!

At the beginning of
son_ ELIE, crosses
slow'y"to_E: FOOL
follows, dancing a
sort of_Horriezdance
around her aewshe
dogg:so. At the b9-
ginnin of the last
verse “LEN enters L.
The FO0L_ie by this
time at R. of this
entr§9¢99

 

 

 

 

 

 

 

Crossihsilm9n_th£9ne.-J

Qgickly.

202

(He tries to laugh--partially
succeeds-~then the idea of a song
comes to him and he sings the
following):

FOOL:
May, the merry month,
month of May
Meg and I and Mary
kissing 'neath the hay.
Nora, Nan, and Nelly,
all the live-long day.
May, the merry-month,
month of May.

ELLEN: The players, Madam.
ELIEABEQH: L hem come in.fi

(ELLEN goes out L.

PENELOPE (Crossing up to her R.):
The time’s grown short. Will you
send for him?

ELIZAEEIH‘ E2:
PENELOPE: He won't come. You'll

let it go too long watching the
players.

ZQEHQEELHLQQEIQII_LL-- ....... .ELLZABEIH: The_plslers--the

Angry.

Blazers:

PENELOPE: You should eat a little
something first.

ELIZABETH: Nolhbringhthem_ingn

(BURBAGE, HEMMINGS and POINS enter
L., bow and cross to stage R.)

BURBAGE: Your Majesty.

(BURBAGE and HEMMINGB are made up
as Falstaff and Prince Henry.
POINS is carrying a barrel and a
candlestick and enters last. The
FOOL sits at L. of ELIZABETH:

Eirmi_full 9f.umfl H4
meaningL Build to

last line.

 

Ignore her completely.

ELIZABEIvaatcheI
them closelymduring
their first seven
sp_gches, but dis-
interested and
unimpressed.

203

PENELOPE is at her R. HEMMINGS

has crossed to down R. POINS is
sitting on his barrel down L.C.

BURBAGE is between them, facing

ELIZABETH.)

_-ELIZABETH:

You' re late,L my ma_sters. Be quick'

If_ever you played_p1ay now. This
is my bad

Quarter of an hour.

PENELOPE: Please--please:

ELIZABETH: Begin Egistatr:

'I call_ thee coward' I 11 see
thee damned  ‘ere I call thee
QOVQEd',

BURBAGE (They bow, then begin
scene): I call thee coward: I'll
see thee damned 'ere I call thee
coward; but I would give a
thousand pound I could run as
fast as thou canst.

HEMMINGS: What's the matter?

BURBAGE: What's the matter:
There be four of us here have
ta'en a thousand pound this
morning.

HEMMINGS: Where is it, Jack,
where is it?

BURBAGE: Where is it: Taken
from us it is: A hundred upon
poor four of us.

HEMMINGS: What? Fought ye with
them all?

BURBAGE: All! I know not what
ye call all; but if I fought not
with fifty of them I'm a bunch

or real Che

(They ALL laugh, excepting ELIZA-
BETH and PENELOPE.)

FIGURE 7

Act III.
'I tell thee what, Hal--if I
tell thee a lie, spit in my face.‘I

 

Sharply e

Motion_theqht9-
continge._

ELIZABETH watches
themmforwawmoment,
then._l9st_in_her
0wn_§h9ush§§i-turn
and_lgokmout_front.
Hermface more
stricken with age.

 

Baddenly.turnwtewher

asithough she‘lriearclw'w

it.mPENELQPE shakes
he: head,_and for a
few moments she
watches the players.
Thenmsheflstaresudown
at trap, as though
fascinated P¥-1te Her
whole body eeems to
be drawn to,it, and
he: pendswbesin to
extend out toward it.
Her face is almost
distorted in mental
pain and physical
exhaustion, fully
showingiheriage.

 

__--LELIZABETH=
-not_tomthe“purpose.m_Imhadmthougnt

_ELIZABETH:

.1 --_.—~'——eA...n 9“”

“ELIZABETH:

204

QQQQE_QQEQ::"mmhlBIIfl
thisiwitty.

BURBAGE (Bowing): Madam, 'tis
writ by Master Shakespeare—-not by
us---

Go on: Go_onii.

HEMMINGS: Pray God, you have not
murdered some of them.

BURBAGE: Nay, that's past praying
for. I have peppered two of them;
two I'm sure I have paid--two
rogues in buckram suits. I tell
you what, Hal--if I tell thee a
lie, spit in my face--call me
horse. Thou knowest my old word;
here I lay, and thus I bore my
point. (Draws his sword.) Four
rogues in buckram let drive at
me—--

- _ "Bath ninthewehime . _
Penelope?

HEMMINGS (Continuing, not having
heard ELIZABETH'B interruption):
What, four? Thou said but two
even now.

BURBAGE:
four.

Four, Hal. I told thee

POINS:

BURBAGE: These four came all
afront, and mainly thrust at me;
but I followed me close, came in
foot and hand, and with a thought
seven of the eleven I paid.

AV: RY. He said four.

HEMMINGS: O monstrous: Eleven
buckram men grown out of two!

BURBAGE: Away, you starveling,

205

you elfskin, you dried meat's
tongue-~you sheath, you bow-case,
you vile standing tuck-~-

 

Ae,ELIZABETH becomes HEMMINGS: Well, breathe awhile,
more engulfed in_her and then do it again: and when
thoughtevfor:ESSEX, thou hast tired thyself in bass
BPQ,1¢§Q8_OYOQ further comparisons, hear me speak but
fgrwarg,gand_finally this.

can control_herself

no longer, rising POINS: Hark, Jack.
suddenly,,her eyes

°9_££§BLW,A§ she HEMMINGS: We two saw you four
realizes the PLAYERS set on four--

areflthere she crosses

R., trying to compose (As ELIZABETH crosses down R. the

hérself.‘ ““'” “"“"“"*"PLAXERS cross to stage L. BURBAGE
upstage, IEMMINGS 0., POINS down-
stage--all racing ELIZABETH.)

After 3HBEE§¢;_ amHELIBABETH: Go on: Go on:

 

BURBAGE and POINS (Prompting
HEMMINGS): Then did we two--
Then did we two----

HEMMINGS: Then did we two est en
you four and with a word out-faced
you from your prize. What start-
ing-hold canst thou now find to
hide thee from this open and
apparent shame? (HEMMINGS and
POINS laugh. There is a dead
pause.)

Glaring at them _“ELIEABETH: GgmgnlwflGo on:

-_. .. .— "q...-

 

POINS: Come, let us hear, Jack:
what trick.hast thou now?

BURBAGE: By the Lord, I know ye
as well as he that made ye. Why
hear ye, my masters: was it for
me to kill the heir-apparent?
(HEMMINGS and POINS laugh.)

In_sw!1

..q

‘0
H

(

e"

,3
yd

itemper.-q “ELIZABETH: Who are_theee strangers?
What isflthie_interlude? _It's a

206

vile_pI§y and_you play it _vilely.
ngone. (They bow and go out.
POINS forgets his barrel and
candlestick. She calls to him):
Taks_your trappinss.sndiso.,

 

Ae_gHIHE rings she (They leave. She starts to cross
flinches, almost -_M.,m- L .when the CHINE rings.) Again
breaks. the_half-hour--(CECIL enters L.)
choJer_sudden1y,_ Was I not wise to wait? He has
almost happy. spoken fir:tI (To CECIL :7fiIIeg1
ELIZABETH becomee_ _H@«_HQECIL: Your HaJesty, a citizen
_sullen and hard rabble has gathered to protest
again under the the execution of Essex. The
disappointment of Captain begs permission to use
hIe message; ‘ your guard. There's no other

force at hand to disperse them.
Bitteri_eet§issg.--- ELIZABETH:

'I"TE yOurcgay Cecil.
I daresay you know that. -T§°_ _
snake-in-thgzfllass
Endures, and those who _are noble,
Point to trap, but free of soul,

Ifiokfeherpiy;et him. Valiant and—Edmirable:—--they go
down in the prime.

Alweyemthezise-dewn.

CECIL:
Madam, the guard
Is needed at once.

Top him ggickly. ELIZABETH:
Aye---the snake mind is b68§:--
Qne b! one you outlast them._ To
the _end
or time it will be QQ::“thQ rats
inherit the earth.
Break, turn up L.1H Taken guard ITake it. I
_‘ffifiug£t you Brought word from--

 

 

 

 

 

 

Unable_ to wait _. _. Go, call ord Essex'from his cell
longer, she breaks. Agdflbging_him_thither.
CECIL:
Lord Essex is prepared for execu-
tion.

The priest has been sent to his.

As though her voiced“.

were gone.

She goes_ to throne
and site. Look at
trap as :though
horrified.

Hardly- able ..to. apeak. A...

Take her face in her
hand.I Look Kindly
at her,

 

207

.w_-ELIZABETH:

Bring him here, I say.

(CECIL bows, crosses and knocks
twice on the trap with his stick.
The trap is opened from below by
one of the GUARDS and CECIL oes
down. FOOL starts to sing, May,
Mey.')

ELIZABETH:

Go out from me, Fool--~

(FOOL goes off L.)

Eqaknharaain- my “race..- Penelope.
He is so young.

Do nothe here when he.comes-~De
you mind?, Youill look so
young.

PENELOPE:
Yes: madamp-but you--
You re beautiful.

119115.931.-frgn.t....--._.--._..m...ELIZABETH:

sadly.

Emilia! smiflimti on ... ..

Still? I was once---
Iouadnnoj_believe it now.

PENELOPE:

Oh, yes--

You' re always beautiful.

You‘ve always been.
IIELIz_ABETH: _Qo_nowmm_§eillmcome.

(PENELOPE bows out L. After a

moment ESSEX enters from the
trap:)

ESSEX:
You sent for me?
Or so they said.
._..E_L_I..2.ABETH= :21.
ESSEX:
It would have been kinder
To leave me with my thoughts till
the axe came down

And ended them. You spoil me for
death.

208

ELIZABETH:
Are you
So set on dying?

Igploring,

--M”“——m—m.—..-.

 

ESSEX:

I can't say I care for it.

This blood that beats in us has a
way of wanting

To keep right on. But if one is
to die

It's well to go straight toward
it.

Quietly; not believ- ELIZABETH:
las_x£&.n§lls_tnldie. Xoummusthhave_known

I never meant you to die.

ESSEX:

I am under sentence

From your Majesty's courts. There's
no appeal that

I “0' of.

I am found guilty of treason on
good evidence,

And cannot deny it. This treason,
I believe,

Is punishable with death.

Humbly. _ ELIZABETH:
God knows I am proud--
And bitter, too—-bitter at you
with much cause,
But I have sent for you. I have
spoken first.
Will you make me tell you first

how much

I've longed for you? It's hard
for me.

ESSEX:

My dear,

You can tell me so gracefully, for
you

Have nothing to gain or lose by
me--but I

Have life and love to gain, and I
find it less
Fitting to speak like a lover,

§a§lzl_hu£31,89me-_W-M

what imploring.

 

Relax back in chair,

not wanting to look
at Elmo

Lean to him,
earnestly.

Crying onto.“ m.

Quickly.

 

Eagerly.

-~-.-—-vu._-- --.~--<

... -_.-

-i‘fl.

209

lest you suppose
I do it to save my head.

ELIZABETH:

It's true that you never

yoved me, isn't it? You were
ambitious, and I

Loved you, and it was the nearest
way_to power,

And you took the nearest way?

(ESSEX starts to speak.)

Ho, nogyone moment---

This is an hour for truth, if
there's ever truth---

. I'm older than youe-but a queen;

"'--d‘

it was natural

You'd flatter me, speak no fair,
and I believed you.

I'm sorry I believed you. Sorry
for you

More than_§9r me.

ESSEX:

Why, yes--that's true enough.

Now may I go? This dying sticks
in my mind,

And makes me poor company, I fear.

m.ELIZABETH:

It is true.
Itmiswtrue,flthen?

ESSEX:

If you wish to make me tell you

How much I used to love you,

How much I have longed for you,
very well, I will say it.

That's a small victory to win
over me now,

But take it with the rest.

ELIZABETH: 293 did love me?

“mu-r» -. un—

ESSEX: Yes.

.-ELEZABETH: Anémgiill do?

ESSEX: Yes. You should know
that, I think.

Unable_to_understand.
Eitiful,plea.

Motion_with hand that
she doesn't want ring
£299-h1m.

_Still with note of
pleading; completely
forgiving him.

Slower.

Break, quickly turn
fromflhim.

L223a22_a3“him._w“m.,

Rise,_quickly;
.EEQQQEESBQo

Her face lighting up,
egtend hand to him.

”ELIZABETH:

. ELIZABETH:

210

Then why did you not
eeng_§h9l£ins?

ESSEX:

I had thought to wear it

As far as my grave, but take it.
(Starts to remove it from his
finger.)

ELIZABETH:

I). dashave .1? ergo .t ’6 en

All that had passed,mat any hour,
dayuor_nisht.

Since I last saw you,“ I have
waited late at night,

Thinking tonight the ring will

But the nights went by

SQQQhQW. like taedeya. and it
never came,

Till the last day came, and here
it is the last morning.

(Th LQELliEwrinkaLhaoqgarten hour. )

And the chimes beating out the
11MB e

ESSEX:
Dear, if I thought--
But I could not have sent it.

Why?

ESSEX:

If I'd tried

To hold you to a promise you
could not keep

And you had refused me, I should
have died much more

Unhappy than I am now.

_ ELIZABETH:

I'd_have,kept_my.promise.
I'dkeep it now.
ESSEX: If I offered you this ring?

ELIZABETH: Yes--—even now.

QBLQKL_¥m291§iY9a__

§loalyllthe_happineaa.
leavingwher face; the
tired, old look re-
fiffifiél

Unbelieving, but no
bitterness.

51°W1¥;_!3€9§§§$¥ew.l,_~L

211

ESSEX:

You would set me free,

Cede back.my estates to me, love
me as before,

Give me my place in the state?

.--ELIZABETH3 Allleeuit_waa.

ESSEX: And what would happen to
your throne?

*“ELIZABETH:

My_throne?
Nothing.

ESSEX: Yes, for I'd try to take
it from you.

_ELIZABETH:

Again?
You'd play that game again?

ESSEX:

The games one plays

Are not the games one chooses
always. I

Am still a popular idol of a sort.

There are mutterings over my in-
prisonment,

Even as it is--and if you should
set me free

And confess your weakness by over-
looking treason,

The storm that broke over you before

Would be nothing to the storm
that would break over you

, then. As for myself,

I played for power and lost, but
if I had

Another chance I think I'd play
and win.

ELIZABETH: Whywdo_y u sayvthie?

ESSEX:

I say it because it's true.

I have loved you, love you now,
but I know myself.

.._- “..._....”

Sincerely.

QEESElXLWM-WM-n-A.

212

If I were to win you over and
take my place

As before, it would gall me. I
have a weakness

For being first wherever I am. I
refuse

To take pardon from you without
warning you

or this. And once you know it,
pardon becomes

Impossible.

oMWELIZABETH:

Xoadclthie “for- me?

ESSEX:

Yes,

And partly for England, too.

I've lost conceit of myself a
little. A life

In prison's very quiet. It leads
to thinking.

You govern England better than I
should.

I'd lead her into wars, make a
great name,

Perhaps, like Henry Fifth, and
leave a legacy

0f debts and bloodshed after me.
You will leave

Peace, happiness, something so-
cure. A woman governs

Better than a man, being a
natural coward.

A coward rules best.

“ELIZABETH: sun bitter.

 

ESSEX:

Perhaps a little.

It's a bitter belief to swallow,
but I believe it.

You were right all the time.

And now, may I go?

(He turns to the trap.)

The headsman comes sharp on the
hour.

QE$gglxakgfiflpfi£fi§§lla h

ditligzxard.on throne.

EhuuumkjnuuLjauuLJJL-l_.-

downstagerhsnd.

Lagkwnp.s£.him.l

$19!+_hnimdn£inlidall-m_

Bause,mleok_at_him_,_.
steadil ..Parely aud-
ibleemr 159) than

saggilxlléaziently.
proudly cross to him.

--—_... -.

 

Ashaat at his impu-
dence; ashamed of her
eznlweaknesai
viglehslx lash out
atmhim.

At highest pitch of
anger.

Her right arm flung
upwards,_shaking with
intensity of her own
emotions. Strike him

with back of hand, full

wELIZABETH:

213

.ELIZABETHi

You have anlhourwxet.
It's but stnflfikfiilye.

ESSEX: It struck five some time
Blnoee
nELlZAEEIH: I§_9ann9t sq this say:
ESSEX:
Aye, but it has
And will. There's no way out.

I've thought of it
Every way. (Turn to her.) Speak
Afrankly. Could you forgive

me
And keep your throne?
d2,

ESSEX:
Are you ready to give
Your crown up to me?

.ELIZABETH;

No. It's all I_ha!s.

Hh1+_lhnlamql

To_standlhsrelnslterinsanithna
1‘ I

.ebel_nohle.
I_sm_§liznbeth+_dauzhter-of-a
kins.
Anduyoumareimxusubiect:
Whatldoes_thiswmean+_zoulstanding
heremeza_t9waye
Withlse.lyour liege}- You_whom I
luEhLaJul

dmgalenyou
Allmthetwyou.havallxgulian-upatart.
defying
Mortalsxahtlpardqn.-leetuyouwshould
sweep_melfrom_power

And“take_m1_plaeemfromlme3laI-teli
YQQ_lI_9hrist_hie.blood

Ran streaminsulremlthe heavens for
sleigh

That I should stay Iy_hand, you'd
die for this,

You pretender to a throne_upon

which you have

214

agrogs face ontho . No claim, you pretender to a

glaim.W~Break, turn heart, who have been

away, almost stagger Hollow and heartless and faith-

up to throne, almost lesswtofithe and!

crying on last line.

Hold onto throne as ESSEX:

though for support. If we had met some other how we
might have been happy~~~

Her_backgto_him all But there's been an empire

throughmthis_speech. between us: I am to die---

391d to chair. Let us say that-~let us begin with
that---

For then I can tell you that if
there'd been no empire

And even now, if you were not
Queen and I were not pretend-

er
That god who searches heaven and
fijzaighten_upnslight- earth and hell
lyg_hopefully.__.mmh __hFor two who are perfect lovers

could end his search
With you and me. Remember----

FanchAnLtqldieLm- WW_.I_-am. to die-«-

ang_sinkgdown again. And so I can tell you truly, out
of all the earth

Slowly_begin to That I'm to leave, there's nothing

straightenuup again, I'm very loath

'0 bl 0nd of_speech To leave save you. Yet if I live

sho'a-n§erlz_-.ere9t. 1'11 be ‘

Your death er you'll be mine.

Without turning, reach ELIZABETH:
out handmtonhim. “A Give heathering.
pitiful _crye
ESSEX (Turning his back to her):

No.
Tarnltqlhimllinll 9t. . ELIZABETH:
emotion,wimploringly, Give me the ring. ,I'd rather you
pitifully crying. killed me

Than I killed you.

ESSEX:

It's better
That I should die young, than live
long and rule,
And rule not well.
Sink back against arms
of throne..MQuieter.huu_ ELIZABETH: Aye, I_should know that.

Defeated.

Eena§._§h§npol9wlx..not

lockih£_-et_ hiknroae . _ _ _

down_t9~him.

Lock out-frontl .Face
b1ank_and immobile;
voice almost express-
1.9111088 e

Lanslnausal.tu.n and mm

look desperately at
him._ Take hold of his
arma_§ishtly..w1th cry
of despair, pleading.

Watch_him cross; as

he starts down look

at her empty arms..
WheLhe disappears,

a sharp intake of
breath. A cry to him
first line; second

line full and rich;

the _last an almost
inaudible cry. Stare
at _trap, As DRUMS
sound, start, turn to
cross L. At final beat
of DRUMS, stiffen. Then
collapse.on_1oweat step
of platform,_ stric_ken
ri id and aged. As

lig ts dim coll_apse,

arms outstretched alone

and defeated.

, ELIZABETH:

215
ESSEX: Is it not?
Yes.

ESSEX: Goodbye, then.

.ELIZABETH:

Thenllfm old, I'm old.

I_gguld:be young with you, but
now I'm old.

I,knqw.now how_it will be without

'YQQ;_.Iheflsun

Will be emptyaanducircle round an
emptywearth-e-

And I will be queen of emptiness

“l_-;and_ dflazhs-er-

Why could you not have loved me
enough to give

Me your love and let me keep as
I was?

ESSEX:
I know not.
I only know I could not.

(ESSEX crosses to trap, stops for
a moment and then disappears down
the stairs.) .

.-ELIZAB.ETH:
Lord Egsex.

Taka_azmkinsdoeil"Iiwislzours.

(DAWN has appeared in the Tower
windows. After a moment there

is a muffled sound of DRUMS. A
sharp DRUM beat. The CHIME rings
six. Then silence.)

CURTAIN

CHAPTER IV

THE ACTING PROBLEMS INVOLVED
IN CREATING THE ROLE OF ELIZABETH

A study of the period during which Elizabeth Tudor
lived presented an historical picture of the major events
that occured during Elizabeth's lifetime. A discussion of
Elizabeth as an individual reflected against this history
was necessary to develop a character study of the woman
and the queen. The next step involved an analysis of
Maxwell Anderson's creation of an historical character for
his play Elizabeth the Qaggg. These three steps were
essential in order to study the part and recreate the
characterization of Elizabeth.

In the preparation of a role, there is no one
theory of acting that must be followed to be assured of
success. However, the method found to be the most satis-
factory was a plan devised by Samuel Seldon in his book,
A W W} Three major divisions were utilized:
analyzing, imagining, and playing the part. A.plan such
as this was necessary due to the complexity of the charac-

terization of Elizabeth. Although the actress drew

 

1 Samuel Seldon,,§ Pl 's Handbgok (New York:
F.S. Crofts and Company, 1955 , pp. 89-117.

217
heavily from the historical concept of Elizabeth, she
remained faithful to the playwright's design. Once she
loses sight of Mr. Anderson‘s dramatic vision efElizabeth,
the effectiveness of her part will be gone.

In the analysis of the part, the first step was an
analysis of the play itself-~the dramatic desire, the
resistance, and the struggle. The dramatic purpose of the
rele can only be indicated through an analysis, first of
all, of the play as a whole--what function Elizabeth had
in the creation of the entire play; the general character,
the central idea, and the general movement of the play.
These questions were answered once the dramatic story was
established. In Eiiggbeth the gaggg the dramatic desire
ef Elizabeth for Essex, the resistance to the satisfaction
of that desire, and the struggle that ensued because of
that desire, constitute the dramatic story. In this case
the motivating desire of the play is a dual one. The
resisting forces are the counter desires of Essex, Cecil,
Raleigh, Bacon, and Burghley, and the conflict of desires
and forces within Elizabeth. The ensuing struggle centers
around Elizabeth and Essex. It is a struggle between the
two individuals and between them and the other characters.

The specific incidents in the play that revealed the
form ef the dramatic struggle were determined. The
struggle originates in Act I, scene 1, when Cecil and

218
Raleigh discuss Elizabeth and Essex and plet to send Essex
to Ireland. The progress of the struggle is most clearly
indicated in the sequences between Elizabeth and Essex—--
their reconciliation in Act I, scene 2; their relationship
in the Council scene and their discussion after the Council
is dismissed in scene 3; Essex's return from Ireland in Act
II, scene 3; and his arrest and departure to the Tower in
this same scene. The outcome of the struggle is their
brief scene at the end of Act III, climaxing the action of
the play with his execution.

The dominating desire or desires of the play must
be established at the beginning. There are two dominating
desires-~Elizabeth's love of Essex and Essex's desire for
power. They are revealed in the action of the play, and
are both causes of the resistant force. The resistant
force takes the form ef a counter desire and an impelling
desire. In both cases it is located primarily in the
characterization of Elizabeth.

Througheut the play, Elizabeth exhibits each of
these desires. The development of the counter desire and
the impelling desire were carefully plotted out. The
previous study of Elizabeth's psychological make—up made
these desires more easily recognizable. For example, in
Act II, scene 2, Elizabeth changes constantly in her

discussion with Bacon. At one moment, she shows her anger

219
with Essex and at the next her love for him. The actress
developed this through a physical and vocal pattern. In
speeches which represented a counter desire, the body was
more erect and rigid and the vocal quality was harsher and
lower. For those speeches which indicated an impelling
desire, the bedy was allowed to be more relaxed and the
voice to be softer and fuller. This was maintained
throughout in order to be consistent with the development
of the characterization.

The dramatic purpose of Elizabeth must next be dis-
cevered. Because the part is a leading one, the answer
was relatively simple. Elizabeth constitutes the primary
motivating desire and force of the play. She represents
the prevailing mood of the action. With this in mind, an
analysis of the details of the part follows. This was
accomplished through a study of the character's body, mind,
and emotional nature.

Elizabeth's general appearance, in relationship to
her station in life, was that of a stately and haughty
monarch. Her specific appearance, in relationship to her
personal peculiarities, was that of a proud and vain
woman. Her carriage was erect and commanding. Her
features were sharp, but strong. Her dress was extremely
elaborate and magnificent. She wore wigs, usually bright
red, and adorned her hands with brilliant rings. Her

220
physical condition was remarkable. An elder woman, she
was healthy and vigorous. She moved gracefully, yet with
strong determination in each movement.

Elizabeth's mind was an intellectually alert and
complex one. Her habits of thought were the product of
inherent, environmental, and circumstantial causes--com—
bining the indecisiveness, contradictoriness, craftiness,
and subtleness that so characterized her. Elizabeth's
emotional character was one of extreme changeability, with
a deep capacity for kindness and cruelty, deep feeling and
harsh obJectivity.

Historical research presented a wealth of descrip-
tive information concerning Elizabeth's body, mind, and
nature. However, the interpretation of the part must be
first, in terms of the script; second, in terms of history.
In this case history and the playwright agreed. The most
important sources of material were the speech lines ef
Elizabeth. Each line was analyzed for its intellectual
and emotional content in relationship to the dramatic
character to be created. The reactions of Elizabeth te
each character in the play were fully considered; the
lines and stage business of other characters were care-
fully analyzed; and each situation that directly or
indirectly affected the characterization of Elizabeth was
studied.

221

This initial preparation was requisite for a com-
plete analysis of the part. Analyzing the play for its
dramatic desire, resistance, struggle, and dramatic purpose
constituted the first step. The last step was an examina-
tion of the three aspects of the dramatic character and an
analysis of the author's script.

After analyzing the part, the problem arises of
imagining the role of Elizabeth--of building the image of
the character. The figure in the script has been studied
and questioned carefully. Now Elizabeth must be visualized
as a living person, thus passing from the more objective to
the subjective analysis. This was accomplished through a
re-creation, or enlarging, of the three aspects of Eliza-
beth's nature. However, the actress could not depend
solely on her own experiences. It was necessary to observe
other people in similar situations or moods, to listen
attentively to the voices of older women, to note the
actions, postures, gestures, expressions, and mannerisms
peculiar to that age, and to observe the details of appear-\
ance and conduct in people. Then the actress experimented
with the best of each of the above characteristics, repro-
ducing and incorporating them into the living image of
Elizabeth. This process must be carefully handled, however,
to avoid meaningless and unessential characteristics in

the part.

222

Portraying the role of an older woman presented
many physical problems. The walk and posture of older
women was particularly noted. During the early rehearsal
periods, several different walks and postures were experi-
mented with in order to find that which was most naturally
adaptable to the part. For example, an older woman would
have more difficulty sitting and rising, would walk more
slowly and heavily, and would not be as agile as a younger
woman. This was accomplished by walking more stiff-legged,
and by settling the weight more on the flat of the feet and
around the middle of the body. The arm gestures were not
full, free, and easy. The gestures were strong, but were
more restrained.

Vocally, the actress used a lower quality than that
of her normal voice. It was back in the throat, producing
a harsher and sharper quality. This did not prevent the
use of as full a vocal range, and greatly helped in estab-
lishing the character.

Much of the imaginative process was created through
the background of the actresses own life. The outward
image was a combination of observed and selected details.
The inner emotional image was created through the memory
of personal experience. No situation in the play duplicat-
ed an actual experience in the actresses life. It was a

matter, again, of selecting and adapting details for the

223

most effective use. For example, the actress was in a
teaching situation. She found that in many ways control
over a group of students duplicated Elizabeth's control of
her Council. The emotional feeling of being in an individ-
ual situation of controling or ruling a group was translat-
ed from the class room to the council room. A fundamental
feeling of being respected and looked up to as a more
superior person was an excellent basis to work from in the
development of Elizabeth's relations with those who
surrounded her.

Thus, Elizabeth was first analyzed, then imagined.
The final step was her creation-~the playing of the part.
Three steps were followed in this unit. The first was
that of action and reaction, of putting the character in
motion. Action and reaction indicate the movement and
counter-movement between the opposing forces in the play.
These opposing forces are the different personalities
involved in the basic struggle of the play. The clearest
examples are in scenes of physical or mental conflict.
The Council Scene, Act 1, scene 3, is a good example of
contact and response, action and reaction. Cecil implies
that Essex is afraid to go to Ireland; Essex becomes angry
and accuses Cecil and Raleigh of treason; Raleigh becomes
angry; Elizabeth shouts out to them all; and Burghley
calmly brings the meeting to order again. Cecil has made

224
the initial contact and Essex responds. Raleigh acts and
Elizabeth reacts. Then Burghley breaks the tenscness of
the situation with a new contact. The dialogue form itself
insists on a physical and mental action and reaction.
process throughout the entire play.

This was the first thing found necessary in the
rehearsal period--tho right kind of responsive contacts.
Elizabeth must be an integral part of every scene she is
in, responding to other characters, to their actions and
lines, and to the situations within each scene. For
example, in Act III, Elizabeth must be responsive to the
presence of the Players doing their scene from.§egry I!
and, at the same time, be responsive to Essex's presence
in the Tower. Her concentration should be focused on the
Players, who are directly in front of her, and on the trap
door through which Essex will enter.

The most difficult scene in which to establish an
action and reaction pattern was scene 2 of Act II between
Elizabeth and Bacon. The scene was written primarily to
show Elizabeth's reactions to the dramatic struggle of the
play. In order to avoid a soliloquy, Bacon was included.
The two characters, in this case, wore able to work well
together, but an emotional action and reaction process
seemed difficult to obtain. Through a study of line

interpretation, business, movement, and character relation-

226
ship the scene finally achieved emotional effectiveness.
However, this scene required the most persistent effort on
the part of the director and the actress.

Reaction is a vital part of putting the character in
motion. It is absolutely necessary from the beginning to
the end of any play. Without reaction there would be no
significance, no conflict, and no story. The first two
basic elements of dramatic action, therefore, are struggle
and action and reaction. The third element is climax.

In any play the final peak of dramatic action is the
major climax. However, there are minor peaks of actions
throughout. In W the M the emotions of the
characters are aroused by the conflict and certain points
in the action are stronger than others. These points are
the minor climaxes of the play and, to be played effectively,
they must be recognized and plotted out. An example of this
can be noted in Act II, scene 2, between Elizabeth and Sir
Francis Bacon. A minor peak is attained at the end of
Elizabeth's long speech. To make this more powerful, bodily
movements were restrained during the first part of the
scene. She slowly built them up as the speech progresses
until, at the end of the speech, the strongest possible
vocal and physical variety has been attained. This was
felt to reinforce the meaning and emotional quality of

the scene.

226

The reverse is just as effective. In Act II, scene
5, when Elizabeth sends Essex to the Tower, the low vocal
intensity and erect, quiet body would be stronger. There-
fore, the preceeding speeches were stronger in volume,
coming down gradually, until the peak line, which was read
quietly but intensely. Climaxes, minor or major, are thus
attained through a coordination of vocal and physical
action. Their importance cannot be underestimated in the
creation of a role.

The final step in playing the part concerns the
elements of contrast, rhythm, and unity in the dramatic
design. These three elements provide the actress with a
flexible performance. Without them, it would be repeti-
tious and monotonous. Contrast is necessary between
characters and within any one character. It may take the
form of a vocal or a physical contrast, whichever is felt
to be more effective. In playing Elizabeth, the more vocal
contrast that is employed, the richer and more poignant
her lines become. For example, in Act II, scene 3,
Elizabeth loses her temper with the Fool and Penelope.
While she berates them, her anger, vocally, takes many
swift turns from intense hatred to harsh cruelty. When
Elizabeth reaches the peak of her anger, she suddenly
changes her mind, sinks back in her throne, and calls for
the Players. The major emotional change is sharp but all

227
of the minor nuances that build to the major contract must
be carefully handled. The reinforcement of the quick
change in temper is that way made more effective.

In Elizabeth the Qgggg the poetic form of the dia-
logue was a definite aid in establishing a rhythmical
pattern of thought, feeling, and action. The important
factor was the stressing of essential points and the sub-
ordinating of unessential ones. Along with vocal rhythm,
it was necessary to establish a physical pattern as well.
Within these rhythmical patterns contrast was used in
order to make the rhythm of the character more interesting
and flexible.

However, these two elements must be controlled. .
This is the function of unity. When unity was applied to
these elements, there was an ordering and fusing of all
the peculiarities and differences of character into a
whole. Elizabeth became an individual that was alive and
believable, not a stage character exhibiting extraneous
actions and reactions.

Finally, the four main points of a good performance
must be applied to the characterization. An effective
performance should be convincing, fresh, restrained, and
easy. In order to be convincing, the part of Elizabeth
must be an integral part of the whole theme of the play.

The characterization must be developed in terms of the

228
other characters and the action of the play. It must be
carefully motivated and easily credible.

The actress must be sure that she creates an illusion
of the first time, or a freshness, in Elizabeth. If this
fundamental feeling that the character is going through a
dramatic experience for the first time is lost, then the
performance becomes monotonous. To avoid monotony, as
much variety as possible must be utilized with the physical
and vocal instruments she has to work with. Through the
use of contrast and rhythm the actress will be able to
accomplish this in the role of Elizabeth.

At the same time, Elizabeth must be restrained. If
the performance is restrained, the imaginations of the
audience will be affected more deeply. The body and voice
must be, at all times, completely controlled. For example,
Elizabeth's last lines in the play are spoken after Essex
has gone to his death. She finally calls to him, offering
him her kingdom. Vocal and physical restraint on these
lines will indicate more strongly the emotional conflict
Elizabeth is experiencing. If Elizabeth were to scream
hysterically and weep real tears, the performance would
become too realistic and lose its effectiveness on the im-
aginations of the audience.

Ease in performance means the illusion of an effort—

less and unconscious playing of a part. Elizabeth must

229

never become conscious work on the stage. The audience
will spot it and become nervous over the effort. A good
performance, therefore, is always convincing, fresh, re-
strained, and easy. When these_major points have been
applied to the total characterization, the actress is
prepared to face an audience.

The theory of a three point plan-~analyzing,
imagining, and playing the part—-was found to be extremely ’“
successful in the basic development of the character of
Elizabeth. Each phase of the process was fully explored
first from an historical angle, then completely in terms
of Maxwell Anderson's script. Following this proceedure,
the characterization of Elizabeth developed naturally and
logically. The acting script was included in order to
indicate the movement, business, and specific interpreta-
tion or the role as it was performed. An actress that
carefully follows this plan in preparing a part will find
it a workable and thoroughly practicable one. The ulti-
mate creation of the role will depend on the capability

and personality of the actress.

BIBLIOGRAPHY

BIBLIOGRAPHY
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, Off B o dw . New York: William Sloane
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Beesly Edward Spencer Queen Eliz beth. New York:
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Black, J.B., The Reign 2; Elingeth. Oxford: The
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Byrne M. St. Clare Elingethan Life ig Town and Country.
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_..._... Ten Tudor Statesmen. London: Grayson and
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