1 Thus to as befits. 1 obsequies funeral rites. 2 our Leir here uses the first personal plural pronoun, rather than the first person singular, as is his royal prerogative; because the monarch figuratively embodies the will of all individuals under his rule, he speaks necessarily in the plural. 2 too late recently. 4 ride in triumph make a victorious entrance into a city. The triumph was a Roman celebration to mark a military victory, and it featured the parading of spoils and prisoners through the city. In Shakespeare's Antony and Cleopatra, Antony paints a picture of the triumph when describing one of Cleopatra's possible fates: "Vanish," he tells Cleopatra, angrily, "or I shall give thee thy deserving, / And blemish Caesar's triumph. Let him take thee, / And hoist thee up to the shouting plebeians: / Follow his Chariot, like the greatest spot / Of all thy sex; most monster-like, be shoen / For poor'st diminutives, for dolts; and let /Patient Octavia plough thy visage up/ With her prepared nails" (F: 2790-96). 4 cherubim. angels. "Cherubim" is the masculine plural of "cherub" in Hebrew, and is considered plural in modern English. According to Pseudo-Dionysius in De Coelesti Hierarchia, cherubim are found among the highest order of angels. (See "Chapter VI": http://www.esoteric.msu.edu/VolumeII/CelestialHierarchy.html). Considering the setting of the play in pre-Christian Britain, the allusion to Judeo-Christian angels is anachronistic, as are many subsequent allusions to Christian lore, theology, and practice. 5 grave much respected or well regarded. 6 disposing of finding husbands for. 6 princely royal. 8 As nature bindeth, in accordance with natural law. 10 wanting lacking. 12 pattern role model. 13 a ship without a stern, A ship's stern is, variously, the steering gear or the rudder. The example is proverbial (Tilley S347). 14 Or silly sheep without a pastor's care silly = helpless and defenseless. The example is proverbial (Tilley S312). The double meaning of pastor -- as the leader of a church and the leader of a literal flock -- was commonplace in early modern discussions of religious and political authority. 15 tender value. 18 But daughters' steps the mother's counsel turns. "mothers provide guidance to daughters [just as fathers provide guidance to sons]." 19 succeed inherit; follow in succession. 20-21 And course of time . . . our withered loins Leir believes that he is too old to sire any more children. 25 fain gladly. 25 resign relinquish. A worthy care . . . that love profess. [[ Resource not found ]]Skalliger's suggestion seems innocent enough but later evidence reveals his devious political intentions. David Kynaston, the actor playing Skalliger, found the evidence in the text puzzling when applying common twenty first century acting techniques. Read more about performing Skalliger and access video of the SQM production. PC. 29 dowry the funds and property given by the bride's family to the groom so that he will relieve the bride's family of the burden of her support. 31 quondam former. 32 licensed me to speak, [[ Resource not found ]] The actor playing Skalliger (David Kynaston) felt it was very important that his character was granted a special license to speak to Leir. Read more about performing Skalliger and access video of the SQM production. 33 censure determine. 34 several various, divers, sundry (OED 2c). 35 jointure dowry. No more nor less . . . have alike from me. [[ Resource not found ]] Having rambled through his opening speech, Leir is suddenly eloquent and decisive. The contradictory attitudes evident in the text presented a challenge to the actor playing Leir in the SQM productions. Is Leir a grief stricken old man or a decisive political operator? Read more about performing Leir and access video of the SQM production. 37 even all alike. evenly amongst the daughters. 39 unpartial impartial. 39 censure judgment, with a sense of moral import. Leir here thinks that his decision is both morally just and reasonable. 39 Wherefore on account of which. This sense of "wherefore" is archaic, but was operative in the sixteenth and seventeenth centuries. See OED (iv). 42 indubitate, undoubted. The word is often used in discussions to monarchical succession. See, for instance, Edward Hall's The union of the two noble and illustre famelies of Lancestre and Yorke where he describes Henry V as "The very indubitate heyre general to the crowne of Fraunce" (73). 1.44 set sat. 44 Fates the personification of mythic forces that determine the course of one's life and the time of one's death. The Fates (the Greek "Morae" or Roman "Parcae") were depicted in Greek and Roman mythology as sisters who measured the threads of individual lives. The first would spin the thread of life, the second would measure the thread, and the third would cut the thread when one's life was at its end. 44 loose the prison of your life, determine that you should die. Early modern writers often figured the body as a prison of the soul and they figured death as a release from that prison. Andrew Marvell, for instance, invokes this vision of the soul in his "Dialogue Between the Soul and Body" where the soul apostrophically wonders, "O, Who shall from this dungeon raise / A soul enslaved so many ways? / With bolts of bones, that fettered stands / In feet, and manacled in hands" (http://www.luminarium.org/sevenlit/marvell/soulbody.htm). 47 after-wishes wistful regrets. 51 Albion, the island of Great Britain While modern historians divide the pre-Anglo Saxon archipelago into "nations" that correspond with Pictish, British and Celtic ethnic groups, such distinctions are far less cut-and-dry in early modern usage, particularly in Leir. According to Pliny the Elder (Natural History, 4.6.102), "Albion" was the name for the island while "Britain" (or "Britanniae") was the name for the entire archipelago, including Ireland; this classical nomenclature basically holds throughout Leir, where "Britain" and "Brittany" are used to refer to the archipelago. Despite this approximate regularity, however, it remains difficult to identify the kingdom of which King Leir is king. Certainly, he is a British king, but Cambria and Cornwall are also British kings (i.e. kings within Britain). Geoffrey of Monmouth's 12th C. description of the ancient island makes no better sense of the play's vision of British geography. While Geoffrey points out that ancient Albion was divided into kingdoms that corresponded (roughly) with modern England, Scotland and Wales, the island in this play seems divided differently and idiosyncratically (i.e. Leir features a King of Cornwall that Geoffrey would not have recognized in politico-geographical terms). In any case, it seems likely that Leir's kingdom in the play includes London as its seat, though little else can be said about his kingdom's geography. Further complicating the play's sense of political geography, the historical Leir is associated with Leicester, the city he purportedly established, rather than with London. Herein, my lords . . . prevail to cease. [[ Resource not found ]] Having given the impression in his opening speech that he is incapable of dealing with his daughters he now reveals that he has clear plans. How can an actor playing the role make sense of these apparent contradictions? Read more about performing Leir and access video of the SQM production. PC. 63 sort agree. "Sort" also refers to the act of apportioning. 57 Cornwall the most southwestern part of England. 57 Cambria, the area of the island to the west of the Severn River. The borders of historical Cambria were regularly debated in early modern England. While Geoffrey of Monmouth insisted that the Severn marked the border between England and Wales, most early modern antiquarians such as William Harrison and William Camden argued that early modern Wales was not identical with ancient Cambria. On the mapping of Cambria in early modern England, see Philip Schwyzer, "A Map of Greater Cambria" (http://extra.shu.ac.uk/emls/04-2/schwamap.htm). 57 motion propose. The rhetoric of "motions" informed the early modern language of emotions, indicating a "stirring of the soul, an emotion" or a "passion" (OED 12a). This association between the language of physics and the language of affect makes sense when considering early modern humoralism, which figured the affective subject in decidedly "hydraulic" terms. This association between passion and motion is caught in John Florio's 1598 World of Words where "Moto" is defined as "a motion, a moouing, a gesture, a wagging, a motion or cause of stirring of any thing, a passion of a mans minde" (from Lexicons of Early Modern English). When Leir says that Cambria and Cornwall "motion" love, then, he is making claims about legal contracts (a proposal) as well affects (a stirring in the soul). 61 solicited asked for her hand in marriage. 61 divers various. 61 peers, members of the hereditary nobility. 62 partial fancy particular, discriminating desire or taste. 63 policy strategy; connotes Machiavellian subtlety and cunning. 66 ne'er prevail never [be] persuaded [to] . 69 chronicles the chronicle was a form of history writing popular in early modern England. Chronicles are characterized by their breadth and by their absence of obvious organizing principles apart from chronology. Perhaps the most influential and ambitious early modern chronicler was Raphael Holinshed, whose Chronicles served as a significant source for a variety of early modern dramatists (http://www.gutenberg.org/browse/authors/h#a5166). Holinshed's Chronicles includes an account of the history of Leir that almost certainly influenced this play. 71 provident showing thought for the future. 74 stopped, dammed up. 75 I am resolved, [[ Resource not found ]] Don Allison who played King Leir chose to deliver this line with sudden vehemence. It was key moment for him that linked two aspects of his character: the grief-stricken old man with the powerful politician. When his judgment was questioned by Perillus, his temper flashed. Read more about performing Leir and access video of the SQM production. PC. 76 sudden previously unconsidered. 81 at the vantage at a moment when he holds the (argumentative) advantage. "Vantage" was a distinct word, not simply an abbreviation of "advantage," in early modern usage. It generally connoted a competitive gain, as in John Florio's 1598 World of Words where he translates and defines "Aggiunta" as "an addition, a vantage, an ouertaking, an ouerreaching" (from Lexicons of Early Modern English). Such language emphasizes Leir's decidedly unpaternal, competitive relationship with Cordella. 86 suit, request. 89 Brittany. When "Leir" refers to "Brittany," he seems to mean to the entire archipelago, including Ireland (or "Hibernia"). "Brittany" is interchangeable in the play with "Brittayne". The SQM company chose to make this Leir's exit line. For a full discussion see the Production Note at TLN 95.1. PC. 90 bewray your secrecy. tell your secret. Though most immediately referring publicizing secrets, "bewray" usually connoted "telling something that one knows to his discredit or harm" (OED 2). "Bewray" also bears with it a significant humiliation factor: to "bewray" is not only to expose, but also, and more specifically, to expose to ridicule or shame. In the SQM production, Skalliger exited at this line. For a full discussion see the Production Note at TLN 95.1. PC. 93.1 Exeunt. The text implies that all the characters leave together at the end of the scene but we found this awkward in practice for several reasons. First, Leir is on stage when Skalliger states he will betray him and when Perillus comments on the folly of fathers. These lines could be explained as asides to the audience, which are rarely marked in early modern texts, but then we were left with the problem of what Leir should be doing while the other characters are speaking to the audience. We could have left him on stage to engage in a mimed conversation with the First Lord in mime but this felt awkward theatrically. Since Leir finishes his speech on a high note, believing his "policy" will "triumph" (TLN 90), we chose to make the final line an exit line. [[ Resource not found ]] Skalliger then spoke his brief line to the audience before hurrying after the other courtiers leaving Perillus alone on stage to share his moral aphorism. Our staging solution does not solve all the issues as Leir got a head start on Skalliger who promised to get to the sisters before the king: "I'll to them before" (TLN 91) but our solution eased stage traffic as staggering the exits allow for one character to clear the stage at a time, rather than all characters crowding through the exit at once, which creating a hiatus before the next scene begins. [[ Resource not found ]] Watch video of the opening scene of the play on the Performing the Queen's Men website. PC.
The History of King Leir (Modern)
Scene 1
0.1[Scene 1] [Video Sc.1]
1Enter King Leir[, Skalliger, Perillus and a Nobleman]
Leir
Thus to our grief, the obsequies performed
Of our -- too late -- deceased and dearest queen,
5Whose soul, I hope, possessed of heavenly joys,
Doth ride in triumph 'mongst the cherubim.
Let us request your grave advice, my lords,
For the disposing of our princely daughters,
For whom our care is specially employed,
10As nature bindeth, to advance their states
In royal marriage with some princely mates;
For wanting now their mother's good advice,
Under whose government they have received
A perfect pattern of a virtuous life --
15Left, as it were, a ship without a stern,
Or silly sheep without a pastor's care --
Although ourselves do dearly tender them,
Yet are we ignorant of their affairs,
For fathers best do know to govern sons,
20But daughters' steps the mother's counsel turns.
A son we want for to succeed our crown,
And course of time hath cancellèd the date
Of further issue from our withered loins;
One foot already hangeth in the grave,
25And age hath made deep furrows in my face.
The world of me, I of the world am weary,
And I would fain resign these earthly cares
And think upon the welfare of my soul,
Which by no better means may be effected
30Than by resigning up the crown from me
In equal dowry to my daughters three.
Skalliger
A worthy care, my liege, which well declares
The zeal you bare unto our quondam queen.
And since your grace hath licensed me to speak,
35I censure thus: your majesty, knowing well
What several suitors your princely daughters have,
To make them each a jointure -- more or less,
As is their worth -- to them that love profess.
Leir
No more nor less, but even all alike.
40My zeal is fixed: all fashioned in one mould,
Wherefore unpartial shall my censure be;
Both old and young shall have alike from me.
A Nobleman
My gracious lord, I heartily do wish
That God had lent you an heir indubitate,
45Which might have set upon your royal throne
When Fates should loose the prison of your life,
By whose succession all this doubt might cease
And, as by you, by him we might have peace.
But after-wishes ever come too late
50And nothing can revoke the course of fate;
Wherefore, my liege, my censure deems it best,
To match them with some of your neighbor kings,
Bord'ring within the bounds of Albion,
By whose united friendship, this our state,
55May be protected 'gainst all foreign hate.
Leir
Herein, my lords, your wishes sort with mine,
And mine, I hope, do sort with heavenly powers,
For at this instant two near-neighboring kings,
Of Cornwall and of Cambria, motion love
60To my two daughters, Gonorill and Ragan.
My youngest daughter, fair Cordella, vows
No liking to a monarch unless love allows.
She is solicited by divers peers,
But none of them her partial fancy hears.
65Yet, if my policy may her beguile,
I'll match her to some king within this isle
And so establish such a perfect peace
As Fortune's force shall ne'er prevail to cease.
Perillus
Of us and ours, your gracious care, my lord,
70Deserves an everlasting memory
To be enrolled in chronicles of fame
By never-dying perpetuity;
Yet, to become so provident a prince,
Lose not the title of a loving father.
75Do not force love where fancy cannot dwell,
Lest streams, being stopped, above the banks do swell.
Leir
I am resolved, and even now my mind
Doth meditate a sudden stratagem
To try which of my daughters loves me best,
80Which, till I know, I cannot be in rest.
This granted, when they jointly shall contend,
Each to exceed the other in their love,
Then at the vantage will I take Cordella,
Even as she doth protest she loves me best;
85I'll say, "Then, daughter, grant me one request:
To show thou lov'st me as thy sisters do,
Accept a husband whom myself will woo."
This said, she cannot well deny my suit,
Although, poor soul, her senses will be mute.
90Then will I triumph in my policy,
And match her with a king of Brittany.
Skalliger
[Aside] I'll to them before and bewray your secrecy.
Perillus
[Aside] Thus, fathers think their children to beguile,
And oftentimes themselves do first repent
95When heavenly powers do frustrate their intent.
95.1Exeunt.

The History of King Leir (Modern)