1-12 I marvel, Ragan, . . . me and you. [[ Resource not found ]] Gonorill provides plenty of information on which to build psychological motivation for herself and her sister but the SQM company approached this scene as if the characters were derived from a morality play rather than a psychological drama. Read more about performing Gonorill and Ragan and access video of the SQM production. PC. 2 pert peat, "pert" refers to outspoken liveliness, generally connoting the impertinence of a social inferior; "peat" is generally a term of endearment, but is used here ironically to mark Cordella -- in the eyes of Gonorill and Ragan -- as a self-righteous, self-aggrandizing goody-goody. 5 a quaint device an ingenious or fashionable trinket. 6 choice invention, skillful, sophisticated devising. 9 nice extravagant or ostentatious (OED 2c). 10 precise, fastidious. By calling Cordella "precise", Gonorill is invoking here the language of Puritanism (or anti-Puritanism), and she is allying Cordella with a sense of radical, overdone, overly fastidious piety. The Puritans in early modern England were a large group of Christians who disagreed with the English church, claiming that the church was not as "reformed" as it should be. According to the Puritans, the English church was troubled because it maintained and encouraged "Popish" or "Roman" practices, and because it failed to encourage the severe and zealous -- "precise" -- moral rigor that the Puritans thought necessary. As the Marprelate Controversy attests (http://www.luminarium.org/encyclopedia/marprelate.htm), the Puritans' religious zeal often left them at odds with the more moderate religious doctrines espoused by Elizabeth I, and it also often left them open to lampooning on the early modern stage by playwrights such as Thomas Middleton in his Chaste Maid in Cheapside. By putting a critique of religious "precision" in the mouth of the unsympathetic Gonorill, the play is not -- in any straightforward or simple way -- endorsing Puritanical zeal or rigor: first, Puritans were often lively opponents of the theatre, so "early modern Puritan drama" is almost oxymoronic; second, Cordella shows herself to be anything but overly precise in her subsequent bawdy quibbling with Mumford later in the play. It seems that the amoral Gonorill finds anyone with moral sense to be overly fastidious and puritanical. 15 desperate medicine serious treatment. 17 prick the highest point; in this case, status above her elder sisters. 18 set by for working days. esteemed no more than laborers. 19 what several "how many", implying that there is a large number of suitors. 20 best degree? highest rank. 21 hap perhaps. 23 Why, then, by right, . . . give place, "Rules of decorum would insist that we show her respect." According to early modern social protocols, married women were attributed higher social status than unmarried women, even if the unmarried women were younger. Kate in Shakespeare's Taming of the Shrew makes a complaint much like Ragan's complaint here when Kate is concerned that her younger sister, Bianca, will be the first married; specifically, Kate is concerned that she will feel great shame if she is forced to "dance bare-foot" (i.e. like a virgin) "on [Bianca's] wedding day" (F: 891). 24 Though it be ne'er so much to our disgrace. "Though it will cause us significant disgrace". 25 By my virginity, The play does not make clear whether or not we should hear irony here. It seems possible that the line should be read as ironic, especially considering the double entendres that both sisters exchange with the messenger. Perhaps, as in Shakespeare's Lear, Gonorill and Ragan are sexualized figures. [[ Resource not found ]] Matthew Krist (Gonorill) made a clear choice that the reference to her virginity was ironic and an overt sexuality became central to his interpretation of his character. Sexual references like this always increased my awareness of the male actors playing the roles of the women. Read more about performing Gonorill and Ragan and access video of the SQM production. [[ Missing milestone tln-013 ]] PC. 27 shirt. undergarments. 28 I have made half a grant already "I have provided my consent to the legal transfer of property that coincides with marriage". Gonorill claims that she has already indicated her interest in marriage to Cornwall, even though official marriage negotiations have yet to be completed. Because she has already accepted Cornwall as a husband, her half of matrimonial deliberations has been completed, and it is now up to Leir to grant his half of the permission. 30 Swear not so deeply, [[ Resource not found ]] Derek Genova (Ragan) picked up on the sexual references in Krist's performance (as Gonorill) and "deeply" took on an anatomical meaning in reference to Gonorill's vow (TLN 121) . Read more about performing Gonorill and Ragan and access video of the SQM production. PC. 32 luckily Production Note
[[ Resource not found ]] At the end of the previous scene, Skalliger implied that he was going directly to the princesses to tell them the news. Here he represents this encounter as chance and this evidence was part of the complex process through which the SQM actor built his characterization. But how might the original actors have achieved the same effect? Read more about performing Skalliger and access video of the SQM production. PC. 36 expedition. performance. Note that the word is pronounced with five syllables 36 I am with child "I am filled with longing" (a commonplace). Note that Skalliger picks up on the literal meaning of the phrase in his response. 37 longing, "The fanciful cravings incident to women during pregnancy" (OED). Skalliger here picks up on Ragan's turn of phrase in the preceding line. 38 great secrecy, [[ Resource not found ]] The King told Skalliger the plot in the presence of numerous other courtiers. Is Skalliger lying or does he have a privileged relationship with the king? These questions were of great importance to Kynaston when rehearsing this scene but is it necessary to resolve this issue and perform the character? Read more about performing Skalliger and access video of the SQM production. PC. 39 out of hand immediately. 42 fain happily. 43 Hibernia, the Roman name for Ireland. 44 doubts she hardly will consent, expects her to withhold her consent. 49 so you will if you will. 54 so extremely dotes so unreasonably esteems and values. "To dote" might also indicate that Leir's unreasonable behaviour is the result of old age or senility (i.e., one's dotage). Such a vision of Leir as senile corresponds with the subsequent claims that Gonorill and Ragan make. 56 presently right away. 58 look whose evaluate whose. 60-61 Oh, that I had some . . . senseless senses with! Mermaids were often thought to have fine singing voices. Though it was conventional to figure mermaids as excellent singers, Ragan here seems to confuse mermaids -- half-woman / half-fish sea creatures -- with the Sirens of classical Greek mythology. The Sirens were half-woman and half-bird creatures whose beautiful songs were said to lure sailors toward craggy rocks where their ships would be wrecked. The most famous example of such Sirenic temptation is found in Homer's Odyssey (Book 12) where Odysseus lashes himself to the mast of his ship while sailing past the Sirens so that he will be able to hear their song without drawing his ship towards the shoal (http://classics.mit.edu/Homer/odyssey.12.xii.html). The rest of the men on his ship protect themselves from the Sirens by plugging their ears with beeswax. In early modern literature, the Sirens were often allied with all manner of effeminate, erotic, and aesthetic temptations, as in the Bower of Bliss episode of Spenser's Faerie Queene where Guyon, the Knight of Temperance, is tempted by siren-like mermaids (2.12). Much like Ragan, then, Spenser attributes the Sirenical power of poetic and erotic temptation to mermaids. See also Stephen M. Buhler, "The Sirens, the Epicurean Boat, and the Poetry of Praise" in Music of the Sirens. 65 enjoin compel. 70 will best unto your good agree. will end most obviously to your benefit. 71 gentle an epithet that indicates he is of gentlemanly stock. 75-76 Nay, our revenge . . . piety in us. Even though they are cruelly abusing Cordella with their plan, Gonorill thinks that their cruelty will be interpreted as daughterly devotion. [[ Resource not found ]] In the remainder of the scene the sisters whet their own and the audience's appetite for the action to come revelling in their anticipated revenge. The SQM actors were encouraged to relish the performance of vice rather than consider the reasons for the sisters' behaviour. Read more about performing Gonorill and Ragan and access video of the SQM production. [[ Missing milestone tln-013 ]] PC. 81 For why because. 88-89 To say I am . . . he'll appoint me. Thomas H. McNeal finds a verbal parallel here with 1 Henry VI where Margaret of Anjou explains, "And if my father please, I am content" (F: 2566). On the early modern stage, regal daughters often acquiesced to their fathers in matters of marriage, as in Famous Victories of Henry the Fifth where Katharine promises to "rest at your Maiesties commaund" when discussing marriage (TLN 1697). 90 Apollo's the Greek and Roman god of the sun, light, and knowledge or "enlightenment"; also (as in this case) regarded as the god of music and the god of poetry. 90 Jove. a Roman name for the king of the Olympian gods; aka Jupiter (Roman) or Zeus (Greek). 94 Irish Hibernian; "Hibernia" was the Roman name for Ireland. 100 better plot; [[ Resource not found ]] The sisters have spelled out their plot with great relish and raised clear expectations of the action to come that are duly fulfilled in the upcoming scene. This effect is a typical element of Queen's Men dramaturgy that McMillin and MacLean describe as "narrative over-determination." The SQM actor played the characters as morality Vices making the consequences of their plotting all the more predictable. Read more about narrative over-determination and access video of the SQM production. PC.
The History of King Leir (Modern)
Scene 2
[Scene 2] [Video Sc.2]
Enter Gonorill and Ragan
Gonorill
I marvel, Ragan, how you can endure
To see that proud pert peat, our youngest sister,
So slightly to account of us, her elders,
100As if we were no better than herself!
We cannot have a quaint device so soon,
Or new-made fashion of our choice invention,
But, if she like it, she will have the same,
Or study newer to exceed us both.
105Besides, she is so nice and so demure,
So sober, courteous, modest, and precise,
That all the court hath work enough to do
To talk how she exceedeth me and you.
Ragan
What should I do? Would it were in my power
110To find a cure for this contagious ill:
Some desperate medicine must be soon applied
To dim the glory of her mounting fame,
Else, ere't be long, she'll have both prick and praise,
And we must be set by for working days.
115Do you not see what several choice of suitors
She daily hath, and of the best degree?
Say, amongst all, she hap to fancy one,
And have a husband whenas we have none;
Why, then, by right, to her we must give place,
120Though it be ne'er so much to our disgrace.
Gonorill
By my virginity, rather than she shall have
A husband before me,
I'll marry one or other in his shirt.
And yet I have made half a grant already
125Of my good will unto the king of Cornwall.
Ragan
Swear not so deeply, sister. Here cometh my Lord Skalliger.
Something his hasty coming doth import.
Enter Skalliger
Skalliger
Sweet princesses, I am glad I met you here so luckily,
Having good news which doth concern you both
130And craveth speedy expedition.
Ragan
For God's sake, tell us what it is, my lord!
I am with child until you utter it.
Skalliger
[To Ragan] Madam, to save your longing, this it is:
Your father, in great secrecy, today
135Told me he means to marry you out of hand
Unto the noble prince of Cambria. --
You, madam, to the king of Cornwall's grace. --
Your younger sister he would fain bestow
Upon the rich king of Hibernia,
140But that he doubts she hardly will consent,
For hitherto she ne'er could fancy him.
If she do yield, why then, between you three,
He will divide his kingdom for your dowries.
But yet there is a further mystery
145Which, so you will conceal, I will disclose.
Gonorill
Whate'er thou speakst to us, kind Skalliger,
Think that thou speak'st it only to thyself.
Skalliger
He earnestly desireth for to know
Which of you three do bear most love to him,
150And on your loves he so extremely dotes
As never any did, I think, before.
He presently doth mean to send for you
To be resolved of this tormenting doubt,
And look whose answer pleaseth him the best,
155They shall have most unto their marriages.
Ragan
Oh, that I had some pleasing mermaid's voice
For to enchant his senseless senses with!
Skalliger
For he supposeth that Cordella will,
Striving to go beyond you in her love,
160Promise to do whatever he desires;
Then will he straight enjoin her, for his sake,
Th'Hibernian king in marriage for to take.
This is the sum of all I have to say,
Which, being done, I humbly take my leave,
165Not doubting but your wisdoms will foresee
What course will best unto your good agree.
Gonorill
Thanks, gentle Skalliger; thy kindness undeserved
Shall not be unrequited, if we live.
Exit Skalliger.
Ragan
Now have we fit occasion offered us
170To be revenged upon her unperceived.
Gonorill
Nay, our revenge we will inflict on her
Shall be accounted piety in us.
I will so flatter with my doting father
As he was ne'er so flattered in his life.
175Nay, I will say that if it be his pleasure
To match me to a beggar, I will yield,
For why I know -- whatever I do say --
He means to match me with the Cornwall king.
Ragan
I'll say the like, for I am well assured,
180Whate'er I say to please the old man's mind,
Who dotes as if he were a child again,
I shall enjoy the noble Cambrian prince;
Only, to feed his humor, will suffice
To say I am content with anyone
185Whom he'll appoint me. This will please him more
Than e'er Apollo's music pleasèd Jove.
Gonorill
I smile to think in what a woeful plight
Cordella will be when we answer thus,
For she will rather die than give consent
190To join in marriage with the Irish king.
So will our father think she loveth him not
Because she will not grant to his desire,
Which we will aggravate in such bitter terms
That he will soon convert his love to hate,
195For he, you know, is always in extremes.
Ragan
Not all the world could lay a better plot;
I long till it be put in practice.
Exeunt.

The History of King Leir (Modern)