1 Will them command them. 4 common weal! the public good (not to be confused with the "commonwealth" as a modern nation state). 6 He God. 10 watch for their behalf. look after their best interests. 11 wantons, ungovernable persons, but the designation seems here to evoke a sense of paternal care. According to Leir, his daughters Gonorill, Ragan, and Cordella -- perhaps spoiled -- are headstrong and difficult to manage. 11 toys, trivialities or amusements. 11 While they, . . . youthful toys. Emily Wilson draws a link between this line and Gloucester's famous lines in King Lear, (F: 2221-2: "As Flies to wanton Boyes are we to th' Gods,/ They kill vs for their sport". See Wilson, Mocked With Death 118. 12 This Leir's. 12 annoys. literally, annoyances, but with a sense of extreme, rather than trivial, vexation (OED 1). The perceived severity of these annoyances is obvious in Leir's subsequent rhetoric where he refers to the doubt "which much molests my mind." 16 conformable, pliable or agreeable. 17 presageth foretells. 18.1 three daughters[, The daughters entered in order of age. This is the first entrance of Cordella and in contrast to her elaborately dressed sisters she wore a plainer, steel-blue gown. The sisters stood in a line upstage with Cordella standing slightly apart, stage left.
[[ Resource not found ]] Read more about Performing the Love Test and access video of the SQM production. PC.
20 present immediate. 20 doubt. [[ Resource not found ]] In the opening scene, Leir states the purpose of the love test is to trick Cordella into marriage but now he claims it will resolve a "doubt" he has about the sincerity of his daughter's affections. Don Allison (Leir) justified this discrepancy as a consequence of Leir's unstable emotional state. Read more about Performing the Love Test and access video of the SQM production. PC. 21-3 Our royal lord . . . sent for us. [[ Resource not found ]] Matthew Krist (Gonorill) gave these lines a mock insouciance as his character pretended ignorance of what was about to unfold. In the SQM production we chose to make Gonorill and Ragan's insincerity perfectly apparent to the audience, which made the scene funny despite the high stakes of the action. Read more about Performing The Love Test and access video of the SQM production. PC. 22 tenor the general nature or substance. The word is fairly legalistic, making Gonorill seem, perhaps, more like a subject than a daughter. 29 assizes. judicial inquests. Leir imagines himself weighed or evaluated at the end of his life, and he imagines that such evaluation will determine his post-mortem fate. "Assize" also evokes commercial weighing and valuation on which Leir may pick up in the next line with a quibble on "tender". 30 tender evaluate or value. Note that the word bears decidedly economic connotations that echo with the "assizes" of the preceding line. 35 hest? command. 37 any of his daughters' [[ Resource not found ]] Matthew Krist (Gonorill), emphasized "any" to indicate Gonorill's intention to set up Cordella's fall. In the spirit of a fairy tale romance, Krist made his character's manipulation of her father archly apparent to the audience. Read more about Performing The Love Test and access video of the SQM production. PC. 39 windy words fatuous language. 39 rehearsed, recited or declared. 42 millstone proverbially heavy. Gonorill here alludes to Matthew 18:6, "But whoso shall offend one of these little ones which believe in me, it were better for him that a millstone were hanged about his neck, and that he were drowned in the depth of the sea" (http://www.biblegateway.com/passage/?search=Matthew%2018:6;&version=9; ). 48 marry [[ Resource not found ]] Gonorill specifically references marriage to distinguish her obedience from Cordella's resistance to her father's will. Her malicious intent towards her sister was maintained throughout fulfilling the course of action promised in scene 2. Her overt malice was amusing for the SQM audience. Read more about Performing The Love Test and access video of the SQM production. PC. 49 meanest lowest social status 53 vassal a feudal tenant. 49 Oh, how thy words [[ Resource not found ]] Don Allison (Leir), gave this line a childlike naivety that helped justify the fact his character could not perceive his daughter's lies although they were made perfectly apparent to the SQM audience. Read more about Performing The Love Test and access video of the SQM production PC. 54 Oh, how I do abhor this flattery! Shakespeare also includes Cordella's (or Cordelia's) choric asides at this moments in the play, though Leir emphasizes the problem of flattery to a greater extent. While Cordella repeatedly goes back to the problem of flattery -- a problem central to renaissance humanist discussions of courtliness -- Shakespeare's Cordelia is more general in her criticism, and she is less obviously critical of her sisters, as when she says, in response to Regan's obsequious spiel, "I am sure, my love's / More ponderous than my tongue" (F: 84-5). [[ Resource not found ]] Unlike in King Lear, the audience can be certain that Cordella's interpretation is accurate. From the side of the stage, Cordella created a direct relationship with the audience who shared her perspective on the action. Read more about performing Cordella and access video of the SQM production. PC. 61 other maid [[ Resource not found ]] Ragan is obliquely referring to Cordella. The SQM actor chose to make the reference overt in performance. Read more about Performing The Love Test and access video of the SQM production. PC. 65 in plainer case more straightforwardly. 67 let this one mean suffice "may this small gesture demonstrate what I cannot adequately express". 66 How much my zeal . . . ruled by you. The language here and throughout this speech -- the language of zeal and grace -- is decidedly devotional. Using this language of faith to discuss interpersonal relationships is characteristically hyperbolic and blasphemous. 68 ratify confirm or prove. 72 bridle fancy, curb desires or, as in OED 8a, curb individual taste. 72 ruled by you. [[ Resource not found ]] As with Gonorill (TLN 248), Ragan specifically references her obedience in marriage to expose her sister Cordella's unorthodox stand. Read more about Performing The Love Test and access video of the SQM production. PC. 73 Philomel Philomel, or Philomela -- a figure from Greek and Roman mythology -- was transformed into a nightingale with a famously sweet song. In Ovid's standard account of Philomela's story, her tongue was cut from her mouth by her brother-in-law, Tereus of Thrace, in order to guarantee that she would remain silent after he raped her. After telling her story to her sister, Procne, in an embroidered tapestry, the sisters revenged Tereus' rape by murdering Tereus' son Itys and by feeding Itys surreptitiously to his father. After this feast and after Tereus was informed of his cannibalism, all three figures were turned to birds. Ovid's account of this story in "Book 6" of the Metamorphoses (classics.mit.edu/Ovid/metam.6.sixth.html) was incredibly influential in early modern England, informing, for instance, Shakespeare's Titus Andronicus. In Titus, Lavinia is raped, has her tongue removed, and tells her story by pointing to a copy of the Metamorphoses. Later in the play, Titus feeds Tamora her sons -- the men who raped Lavinia. As is often the case in Leir, the speaker here seems oblivious to the various negative connotations of the allusions that he or she invokes; in this case, Leir refers only to Philomela's beautiful voice while he ignores the violence and horror that are central to her story. 73 so sweet a note? [[ Resource not found ]] Don Allison (Leir) was filled with joy at his daughters' answers, failing to see the insincerity that was apparent to the audience. His joyous response made him childlike in his gullibility, invoking sympathy while still marking his credence as folly. Read more about Performing The Love Test and access video of the SQM production. PC. 74 flatterer [[ Resource not found ]] Unlike in King Lear, the audience can be certain that Cordella's interpretation is accurate. From the side of the stage, Cordella created a direct relationship with the audience who shared her perspective on the action. Read more about performing Cordella and access video of the SQM production. PC. 77-80 I cannot [[ Resource not found ]] Julian DeZotti (Cordella) presented her arguments modestly, with a decisive edge. Playing the virtuous sister proved a challenge to our twenty first century actor. Read more about performing Cordella and access video of the SQM production. PC. 82 brook tolerate. 84 slight flimsy, foolish, and/or of little worth. 85 minion, a follower, often used as a term of endearment (that would here be ironic). 86 peremptory? decisive or abrupt. 91 short shorten. 97 foster supply with food or raise as a child; to care for and nurture as a father should. Leir here emphasizes, that is, that he has fulfilled his paternal duties. 99 Our life is less than love we owe to you. "Our love for you is greater than our desire to remain alive." 107 But it should seem your neighbors dwell far off. "You must sing your own praises because no one else is singing them". (Proverbial: Tilly N117, "He dwells far from neighbors (has ill neighbors) that is fain to praise himself".) [[ Resource not found ]] Cordella here fights back against her sisters. Julian DeZotti (Cordella) used such moments to develop a more progressive interpretation of his character as the production developed. Read more about performing Cordella and access video of the SQM production. PC. 112 imp, a child, often connoting quasi-demonic parentage. Because an imp is also a "shoot or slip used in grafting" (OED 3), Leir's language here yokes ideas of family and genealogy to the language of horticulture; this yoking of genealogy and the language of horticulture occurs throughout the play. [[ Resource not found ]] The onset of Leir's rage is sudden - a characteristic technique of Queen's Men dramaturgy. The SQM actors had to learn to commit to sudden changes in emotion. Read more about Queen's Men Dramaturgy: Sudden Emotion and access video of the SQM production. PC. 113 tittle a small stroke with a pen, such as the dot atop an "i". Leir uses the word figuratively to indicate a miniscule amount. 117 Shift manage her life. Leir is saying that Cordella should try to get by without his help. 119 royal dower, the dowry fit for the daughters of a king, including half of Leir's kingdom. 123 dispossess relinquish the rights to land, title, and crown. It is unclear whether or not such abdication is legal or possible according to English politico-theological assumptions about the divine right of kings. The argument in favor of divine right -- and thus aginst the possibility of abdication -- is framed succinctly in Shakespeare's Richard II where Richard claims that "Not all the water in the rough rude sea / Can wash the balm off from an anointed king; / The breath of worldly men cannot depose /The deputy elected by the Lord" (TLN 1409-1411). While Richard here clearly affirms the claims of divine right, it is unclear whether or not the play endorses such a vision of divinely ordained politics or whether it argues for precisely the opposite. The question of abdication is also central to Shakespeare's Lear, but there is no critical consensus on the play's understanding of Lear's "abdication". While Marvin Rosenberg points to Charles V's abdication to suggest that "in Shakespeare's world abdication was not regarded as horrible or unnatural" (41), it is unclear that Charles V was part -- in any simple way -- of "Shakespeare's world". If we imagine Shakespeare's world to be delimited by the political theology of early modern England, then responses to the abdication of an elected Holy Roman Emperor seem immaterial. 125 I ever thought that pride would have a fall. proverbial (Tilly P581: "Pride will have a fall"). The sense that overweening pride would lead inevitably to a reversal of fortune was central to many early modern visions of the providentially ordered human world, particularly as that world was imagined in the popular de casibus tradition, where hubris in the powerful was invariably punished. This tradition seems to be invoked ironically and proleptically at this moment where the Gonorill mocks the modest and pious Cordella. 127.1 Exeunt As with the exits in scene one, sequential exits for the characters proved far more economical than a mass exeunt. Leir left on his final line and allowing Gonorill and Ragan to delivered their last sarcastic barbs before flouncing off the stage victoriously. PC. 130 Him God. 132 for to get my spending, to earn the money that I need to live. 134 fond foolish.
197.1[Scene 3] [Video Sc.3]
Enter Leir and Perillus
Leir
Perillus, go seek my daughters. Will them immediately
200Come and speak with me.
Perillus
I will, my gracious lord.
Exit.
Leir
Oh, what a combat feels my panting heart
'Twixt children's love and care of common weal!
How dear my daughters are unto my soul
205None knows but He that knows my thoughts and secret deeds.
Ah, little do they know the dear regard
Wherein I hold their future state to come.
When they securely sleep on beds of down,
These agèd eyes do watch for their behalf.
210While they, like wantons, sport in youthful toys,
This throbbing heart is pierced with dire annoys.
As doth the sun exceed the smallest star,
So much the father's love exceeds the child's.
Yet my complaints are causeless, for the world
215Affords not children more conformable,
And yet methinks my mind presageth still
I know not what, and yet I fear some ill.
Enter Perillus, with the three daughters[, Gonorill, Ragan and Cordella]
Well, here my daughters come. I have found out
220A present means to rid me of this doubt.
Gonorill
Our royal lord and father, in all duty
We come to know the tenor of your will,
Why you so hastily have sent for us.
Leir
Dear Gonorill, kind Ragan, sweet Cordella,
225Ye flourishing branches of a kingly stock,
Sprung from a tree that once did flourish green,
Whose blossoms now are nipped with winter's frost,
And pale, grim Death doth wait upon my steps,
And summons me unto his next assizes.
230Therefore, dear daughters, as ye tender the safety
Of him that was the cause of your first being,
Resolve a doubt which much molests my mind:
Which of you three to me would prove most kind,
Which loves me most, and which, at my request,
235Will soonest yield unto their father's hest?
Gonorill
I hope my gracious father makes no doubt
Of any of his daughters' love to him;
Yet, for my part, to show my zeal to you,
Which cannot be in windy words rehearsed,
240I prize my love to you at such a rate,
I think my life inferior to my love.
Should you enjoin me for to tie a millstone
About my neck and leap into the sea,
At your command I willingly would do it.
245Yea, for to do you good, I would ascend
The highest turret in all Brittany,
And from the top leap headlong to the ground.
Nay, more, should you appoint me for to marry
The meanest vassal in the spacious world,
250Without reply I would accomplish it.
In brief, command whatever you desire,
And if I fail, no favor I require.
Leir
Oh, how thy words revive my dying soul!
Cordella
[Aside] Oh, how I do abhor this flattery!
255Leir
But what saith Ragan to her father's will?
Ragan
Oh, that my simple utterance could suffice
To tell the true intention of my heart,
Which burns in zeal of duty to your grace
And never can be quenched but by desire
260To show the same in outward forwardness.
Oh, that there were some other maid that durst
But make a challenge of her love with me:
I'd make her soon confess she never loved
Her father half so well as I do you.
265Ay, then my deeds should prove in plainer case
How much my zeal aboundeth to your grace.
But, for them all, let this one mean suffice
To ratify my love before your eyes:
I have right noble suitors to my love,
270No worse than kings, and happily I love one;
Yet, would you have me make my choice anew,
I'd bridle fancy, and be ruled by you.
Leir
Did never Philomel sing so sweet a note?
Cordella
[Aside]Did never flatterer tell so false a tale?
275Leir
Speak now, Cordella, make my joys at full,
And drop down nectar from thy honey lips.
Cordella
I cannot paint my duty forth in words;
I hope my deeds shall make report for me.
But look what love the child doth owe the father:
280The same to you I bear, my gracious lord.
Gonorill
Here is an answer answerless indeed!
Were you my daughter, I should scarcely brook it.
Ragan
Dost thou not blush, proud peacock as thou art,
To make our father such a slight reply?
285Leir
Why, how now, minion, are you grown so proud?
Doth our dear love make you thus peremptory?
What, is your love become so small to us
As that you scorn to tell us what it is?
Do you love us as every child doth love
290Their father? True indeed, as some
Who by disobedience short their fathers' days,
And so would you; some are so father-sick
That they make means to rid them from the world,
And so would you; some are indifferent
295Whether their agèd parents live or die,
And so are you. But didst thou know, proud girl,
What care I had to foster thee to this,
Ah, then thou wouldst say as thy sisters do:
"Our life is less than love we owe to you."
300Cordella
Dear father, do not so mistake my words,
Nor my plain meaning be misconstrued;
My tongue was never used to flattery.
Gonorill
You were not best say I flatter: if you do,
My deeds shall show I flatter not with you.
305I love my father better than thou canst.
Cordella
The praise were great, spoke from another's mouth,
But it should seem your neighbors dwell far off.
Ragan
Nay, here is one that will confirm as much
As she hath said, both for myself and her.
310I say thou dost not wish my father's good.
Cordella
Dear father --
Peace, bastard imp, no issue of King Leir!
I will not hear thee speak one tittle more.
Call not me father if thou love thy life,
315Nor these thy sisters once presume to name;
Look for no help henceforth from me nor mine;
Shift as thou wilt and trust unto thyself.
My kingdom will I equally divide
'Twixt thy two sisters to their royal dower,
320And will bestow them worthy their deserts.
This done, because thou shalt not have the hope
To have a child's part in the time to come,
I presently will dispossess myself
And set up these upon my princely throne[H3].
325Gonorill
I ever thought that pride would have a fall.
Ragan
Plain-dealing sister, your beauty is so sheen,
You need no dowry to make you be a queen.
Exeunt Leir, Gonorill, Ragan.
Cordella
Now whither -- poor, forsaken -- shall I go,
330When mine own sisters triumph in my woe,
But unto Him which doth protect the just?
In Him will poor Cordella put her trust.
These hands shall labor for to get my spending,
And so I'll live until my days have ending.
335Perillus
Oh, how I grieve to see my lord thus fond
To dote so much upon vain flattering words.
Ah, if he but with good advice had weighed
The hidden tenor of her humble speech,
Reason to rage should not have given place,
340Nor poor Cordella suffer such disgrace.
Exit.