2 "My lord"? [[ Resource not found ]] Gallia is frustrated because Mumford is addressing him as a king, forgetting they are in disguise as poor pilgrims. The SQM actors built great comic business around Mumford's inability or refusal to remember. Read more about performing Mumford the Clown and access video of the SQM production. PC. 7 'Swounds, a common oath; abbreviated from "by God's wounds", in reference to Christ's wounds. 9 Call me Tresillus; I'll call thee Denapoll. These names do not correspond to any known historical or literary figures; instead, they are quasi-classical/pastoral names indicating Gallia's education and sophistication. Mumford's frustrated response indicates his distance from such courtly learnedness. [[ Resource not found ]] Mumford has shown himself capable of courtly formality in his previous scene but here he separates himself from the king's romantic pretensions. Read more about performing Mumford the Clown and access video of the SQM production. PC. 12 Then call me Will; I'll call thee Jack. While these names are marked by their "commonness" when compared with the hyperbolically classicized "Tresillus" and "Denapoll", they might also be evocative puns. "Will" in this case might suggest the will of the people or kingdom that the king is imagined to embody; "Jack" is a name associated, according to the OED, with knavery and poor breeding. [[ Resource not found ]] Mumford's choice of common English names is a sign of the character's clownish inclinations. Read more about performing Mumford the Clown and access video of the SQM production. PC. 13 called Jack. [[ Resource not found ]]Alon Nashman (Mumford) straddled his pilgrim's staff at this point and thrust his hips giving a clear reason why Mumford has deserved be "called Jack," or a knave. Read more about performing Mumford the Clown and access video of the SQM production. PC. 14 close, hidden. 16-28 This is a day . . . embrace the rod. [[ Resource not found ]]Initially Julian DeZotti (Cordella) struggled to connect with the passivity we perceived in this speech. Our efforts to connect with the text taught us much about the idea of divine providence and the representation of women on the early modern stage. Read more about performing Cordella and access video of the SQM production. PC. 20 fickle queen of chance Fortune. 21 pattern example. 22 imbecility weakness. 23 brunts! attacks or abuse 26 Fortune The personified figure of Fortune played a significant role in early modern literary and dramatic traditions. Fortune was most often invoked by writers describing significant reversals of fate or when parsing the orbits of the Wheel of Fortune (http://www.brown.edu/Departments/Italian_Studies/dweb/themes/fortune/rota_fortunae.jpg). The figure of Fortune was best known through the "fall of Princes" or de casibus, tradition, as in William Baldwin's popular Mirror for Magistrates (http://books.google.ca/books?id=kKwLAAAAIAAJ&printsec=frontcover&dq=mirror+for+magistrates). Baldwin's Mirror was significantly influenced by John Lydgate's Fall of Princes (http://library.uvic.ca/site/lydgate/lydgatems/contents.htm), which was itself an adaptation of a French translation of Giovanni Boccaccio's De Casibus Virorum Illustrium. It is this tradition to which Richard II refers in Richard II when he invokes the "sad stories of the death of kings" (F: 1516). 28 embrace the rod. appreciate moral correction. The relationship between the rod and moral or parental authority is of biblical derivation. See Proverbs 22:15: "Foolishness is bound in the heart of a child; but the rod of correction shall drive it far from him" (http://www.biblegateway.com/passage/?book_id=24&chapter=22&version=9). 7.34 meaner habit. less ostentatious or luxurious clothing. 36 smock and petticoat A smock is an article of women's underwear like a chemise; a petticoat is a woman's undercoat or decorative underskirt (OED). 7.35 that she and I might shift our clothes together. Mumford wants to undress -- or exchange clothes -- with Cordella. [[ Resource not found ]]Mumford's bawdy responses worked in delightful counterpoint to the sincerity of Cordella's commitment to a life of labour . Read about Queen's Men Dramaturgy: Medley Style and access video of the SQM production. PC. 35 I will betake . . . fingers' ends [[ Resource not found ]]The sincerity of Cordella's commitment to a life of labour worked in delightful counterpoint to Mumford's bawdy responses. Read about Queen's Men Dramaturgy: Medley Style and access video of the SQM production. PC. 7.41 St. Denis Saint Denis is the patron saint of France. Without a rhyme word, it remains difficult to know precisely how "Denis" should be pronounced in the play. Early modern convention might have read "Dennis" here, rather than the Gallic "De-nee." 40 sadly earnestly; with great seriousness and sincerity. 41 custom. patronage. If Cordella vows to remain chaste -- a maiden -- then Mumford refuses to support her in her new career as a seamstress. [[ Resource not found ]] Mumford's desire turns here to disappointment and the sudden reversal was very amusing in the hands of Alon Nashman our company clown. Read more about performing Mumford the Clown and access video of the SQM production. PC. 44 'Sblood, Will [[ Resource not found ]]Nashman (Mumford) played this moment with mock horror pretending to be the jealous lover before encouraging his master to "get in" in his next line (TLN 631). Read more about performing Mumford the Clown and access video of the SQM production. PC. 44 sempster! seamstress. 45 labyrinth maze. It was conventional in the period to describe love as a confusing and disorienting labyrinth, as in Lady Mary Wroth's "Corona of Sonnets" in her Pamphilia and Amphilanthus, which begins with the question, "In this strange Labyrinth how shall I turne[?]"(http://darkwing.uoregon.edu/~rbear/mary.html). 47 get in. a nonsense double entendre. [[ Resource not found ]]Nashman (Mumford) made the meaning perfectly apparent by gesturing with his pilgrim's staff. Read more about performing Mumford the Clown and access video of the SQM production. PC. 48 passions. pronounced with three syllables. 52 Vouchsafe literally, "give to me" or "provide me with", though frequently used to refer to the disclosure of a information. 54 what avails to show the cause "Why bother discussing the matter?" 58-59 The silly mouse, . . . lion from the net. This story of the mouse and the lion -- one of Aesop's fables -- was a commonplace in early modern England (Tilley L315: "A lion may come to be beholden to a mouse"). 62 hapless unfortunate. 63 sometime former. 64 debars keeps out. 64 his honorable age an epithet used to refer to Leir. 70 say there should come a king [[ Resource not found ]] Paul Hopkins (Gallia), delivered this line with an awareness of the dramatic irony at play engaging the audience both with the affectionate unfolding of the romance, and the comical ironies raised by the disguise and the high level of coincidence in the situation. Read more about Queen's Men Dramaturgy: Medley Style and access video of the SQM production. PC. 79 spoil strip, as one is stripped of armor in military defeat?. 82 sue to me "request of me"; in this case, request Cordella's hand in marriage. 83 Except unless. 87 guise practice. 94 Hymen's sacred bonds. Hymen is the Greek god of matrimony, imagined to bless happy marriages at the moment of the wedding ceremony. In early modern England, Hymen appeared regularly in wedding masques, as in Ben Jonson's Masque of Hymen or Hymenaei, performed 5 January 1606 at the wedding of Robert Devereux, Earl of Essex, and Frances Howard (http://www.luminarium.org/editions/hymen.htm). Hymen also appears in the wedding masques of Shakespeare's As You Like It (TLN 2681) and The Tempest (F: 1757). 96 live For this line we made one of the very few changes to the text to help clarify sense for the actor: "live" was changed to "love." "thou" in the next sentence then referred to the personification of "love". Andrew's interpretation of the quarto colon at the end of line 96 makes new sense of the line without changing a word. 100 Whilom whenas once when. 101 postulate claim or request. 103 light fallen. 105 surcease stop pursuing. 106 whereas no dowry will ensue. because no dowry will come of it. 107 Cease for thy king, seek for thyself to woo. [[ Resource not found ]]Cordella is bold enough to declare her love rather than wait modestly to return the love of the "pilgrim." Julian DeZotti (Cordella) did an excellent job identifying moments of agency like this and transformed my perception of his character. Read more about performing Cordella and access video of the SQM production. PC. 108 Your birth's too high . . . a king. Thomas H. McNeal finds a parallel here with 1 Henry VI where Suffolk, speaking of Margaret of Anjou, explains that "her birth / Approves her fit for none but a king" (2890-2891). 109 low lowly, or modest. Contrary to Gonorill and Ragan's earlier claims of Cordella's haughtiness, Cordella here claims here to be quite modest in her tastes. 112 so straight and full of penury. strictly moral and without money. The sense of "straightness" here likely comes -- at least indirectly -- from Matthew 7:14, where Christ is reported to have said, "Because straight is the gate, and narrow is the way, which leadeth unto life, and few there be that find it" (http://www.biblegateway.com/passage/?book_id=47&chapter=7&verse=14&version=9&context=verse). 113 Oh, yes, I can, [[ Resource not found ]] Cordella here follows her heart not the dictates of her father or society developing the play's exploration of the conflict between romantic love and patriarchal authority. To make the scene work it was necessary to build the actors awareness of the cultural assumptions about marriage that would have made this scene more provocative in its day. Read more about the performance of Scene 7 and access video of the SQM production. PC. 114 palmer's staff a walking stick used by itinerant palmers or pilgrims. 114-115 I'll hold . . . scepter of a queen; In the imaginary transformation of palmer's staff into regal scepter, Jacqueline Pearson detects a parallel with Richard II where Richard, abdicating, declares that he will exchange "My scepter for a palmer's walking staff" ( F: 1739). 116 bonnet Palmers were usually depicted wearing large hats, presumably to protect them from rain and sun as they travel. See http://www.york.ac.uk/projects/pilgrimage/content/med_liter.html 125 cordial broadly, any restorative, though more specifically a medicine that stimulates or revives the heart. 129 king of Gallia, [[ Resource not found ]]Paul Hopkins (Gallia) ripped off his pilgrim's garb at this point revealing his kingly attire underneath. The company performane balanced the romance and the ironies beautifully in this scene. Read more about the performance of Scene 7 and access video of the SQM production. PC. 130 slenderly accompanied, with so few attendants. [[ Resource not found ]]Here Mumford reacted as if offended. Read more about performing Mumford and access video of the SQM production . PC. 131 vassal a feudal tenant. 139 Have palmers' weeds . . . fair ladies? [[ Resource not found ]] Nashman (Mumford) expressed surprise and amazement that a pilgrim's disguise should prove so sexually attractive. Read more about performing Mumford and access video of the SQM production. PC. 140 next that falls next woman who is won. "Falls" here bears sexual connotations. 142 weed. garment, here indicating its coarseness and lowliness. 145 foppets a little fop or fool. According to the OED, this is the first and only usage of the word. 146 What resteth, "what else do we require." The question is rhetorical, suggesting that they should hurry to wed. 146 procure? bring about or acquire. 152 I like the wooing [[ Resource not found ]] Always a big laugh line in performance - it encapsulated the interplay of emotional investment in the romance and an ironic awareness of its expeditious and fortuitous qualities. Read more about performing Mumford and access video of the SQM production. PC. 153 British ladies. [[ Resource not found ]]Nashman (Mumford) used this line to flirt with women in the audience who in the original production would have been British. Read more about performing Mumford and access video of the SQM production. PC. 153 humor disposition, mood, or feelings. 153 alienated from the maids of France. "I'm no longer attracted to French women".
The History of King Leir (Modern)
Scene 7
581.1[Scene 7] [Video Sc.7]
Enter the King of Gallia and Mumford, disguised like pilgrims.
Mumford
My lord, how do you brook this British air?
585Gallia
"My lord"? I told you of this foolish humor
And bound you to the contrary, you know.
Mumford
Pardon me for once, my lord, I did forget.
Gallia
"My lord" again? Then let's have nothing else
And so be ta'en for spies, and then 'tis well.
590Mumford
'Swounds, I could bite my tongue in two for anger!
For God's sake name yourself some proper name.
Gallia
Call me Tresillus; I'll call thee Denapoll.
Mumford
Might I be made the monarch of the world,
I could not hit upon these names, I swear.
595Gallia
Then call me Will; I'll call thee Jack.
Mumford
Well, be it so, for I have well deserved to be called Jack.
Enter Cordella
Gallia
Stand close, for here a British lady cometh.
A fairer creature ne'er mine eyes beheld.
Cordella
This is a day of joy unto my sisters,
600Wherein they both are married unto kings,
And I, by birth as worthy as themselves,
Am turned into the world to seek my fortune.
How may I blame the fickle queen of chance
That maketh me a pattern of her power?
605Ah, poor, weak maid, whose imbecility
Is far unable to endure these brunts!
Oh, father Leir, how dost thou wrong thy child
Who always was obedient to thy will!
But why accuse I Fortune and my father?
610No, no, it is the pleasure of my God,
And I do willingly embrace the rod.
Gallia
It is no goddess, for she doth complain
On Fortune and th'unkindness of her father.
Cordella
These costly robes, ill fitting my estate,
615I will exchange for other meaner habit.
Mumford
Now if I had a kingdom in my hands,
I would exchange it for a milkmaid's smock and petticoat that she and I might shift our clothes together.
Cordella
I will betake me to my thread and needle,
620And earn my living with my fingers' ends.
Mumford
O brave! God willing, thou shalt have my custom,
By sweet St. Denis here I sadly swear,
For all the shirts and nightgear that I wear!
Cordella
I will profess and vow a maiden's life.
625Mumford
Then I protest thou shalt not have my custom.
Gallia
I can forbear no longer for to speak,
For if I do I think my heart will break.
Mumford
'Sblood, Will, I hope you are not in love with my sempster!
Gallia
I am in such a labyrinth of love
630As that I know not which way to get out.
Mumford
You'll ne'er get out unless you first get in.
Gallia
I prithee, Jack, cross not my passions.
Mumford
Prithee, Will, to her and try her patience.
Gallia
Thou fairest creature, whatsoe'er thou art,
635That ever any mortal eyes beheld,
Vouchsafe to me, who have o'erheard thy woes,
To show the cause of these thy sad laments.
Cordella
Ah pilgrims, what avails to show the cause
When there's no means to find a remedy?
640Gallia
To utter grief doth ease a heart o'ercharged.
Cordella
To touch a sore doth aggravate the pain.
Gallia
The silly mouse, by virtue of her teeth,
Released the princely lion from the net.
Cordella
Kind palmer, which so much desir'st to hear
645The tragic tale of my unhappy youth,
Know this in brief: I am the hapless daughter
Of Leir, sometime king of Brittany.
Gallia
Why, who debars his honorable age
From being still the king of Brittany?
650Cordella
None but himself hath dispossessed himself,
And given all his kingdom to the kings
Of Cornwall and of Cambria with my sisters.
Gallia
Hath he given nothing to your lovely self?
Cordella
He loved me not and therefore gave me nothing,
655Only because I could not flatter him,
And in this day of triumph to my sisters
Doth Fortune triumph in my overthrow.
Gallia
Sweet lady, say there should come a king --
As good as either of your sisters' husbands --
660To crave your love: would you accept of him?
Cordella
Oh, do not mock with those in misery;
Nor do not think, though Fortune have the power
To spoil mine honor and debase my state,
That she hath any interest in my mind,
665For if the greatest monarch on the earth
Should sue to me in this extremity,
Except my heart could love and heart could like
Better than any that I ever saw,
His great estate no more should move my mind
670Than mountains move by blast of every wind.
Gallia
Think not, sweet nymph, 'tis holy palmer's guise
To grievèd souls fresh torments to devise;
Therefore, in witness of my true intent,
Let heaven and earth bear record of my words:
675There is a young and lusty Gallian king,
So like to me as I am to myself,
That earnestly doth crave to have thy love
And join with thee in Hymen's sacred bonds.
Cordella
[Aside] The like to thee did ne'er these eyes behold.
680Oh, live to add new torments to my grief!
Why didst thou thus entrap me unawares? --
Ah, palmer, my estate doth not befit
A kingly marriage as the case now stands.
Whilom whenas I lived in honor's height,
685A prince perhaps might postulate my love;
Now misery, dishonor, and disgrace
Hath light on me, and quite reversed the case.
Thy king will hold thee wise if thou surcease
The suit whereas no dowry will ensue.
690Then be advisèd, palmer, what to do:
Cease for thy king, seek for thyself to woo.
Gallia
Your birth's too high for any but a king.
Cordella
My mind is low enough to love a palmer
Rather than any king upon the earth.
695Gallia
Oh, but you never can endure their life,
Which is so straight and full of penury.
Cordella
Oh, yes, I can, and happy if I might.
I'll hold thy palmer's staff within my hand
And think it is the scepter of a queen;
700Sometime I'll set thy bonnet on my head
And think I wear a rich imperial crown;
Sometime I'll help thee in thy holy prayers
And think I am with thee in paradise:
Thus I'll mock Fortune as she mocketh me,
705And never will my lovely choice repent,
For having thee, I shall have all content.
Gallia
[Aside] 'Twere sin to hold her longer in suspense
Since that my soul hath vowed she shall be mine. --
Ah, dear Cordella, cordial to my heart,
710I am no palmer as I seem to be
But hither come in this unknown disguise
To view th'admirèd beauty of those eyes.
I am the king of Gallia, gentle maid,
Although thus slenderly accompanied,
715And yet thy vassal by imperious Love,
And sworn to serve thee everlastingly.
Cordella
Whate'er you be, of high or low descent,
All's one to me; I do request but this:
That as I am, you will accept of me,
720And I will have you whatsoe'er you be.
Yet well I know you come of royal race;
I see such sparks of honor in your face.
Mumford
Have palmers' weeds such power to win fair ladies?
Faith, then I hope the next that falls is mine.
725Upon condition I no worse might speed,
I would forever wear a palmer's weed.
I like an honest and plain-dealing wench
That swears, without exceptions, "I will have you."
These foppets that know not whether to love a man or no -- ex730cept they first go ask their mothers' leave -- by this hand, I hate them ten times worse than poison.
Gallia
What resteth, then, our happiness to procure?
Mumford
Faith, go to church to make the matter sure.
Gallia
It shall be so because the world shall say,
735"King Leir's three daughters were wedded in one day."
The celebration of this happy chance
We will defer until we come to France.
Mumford
I like the wooing that's not long a doing.
Well, for her sake, I know what I know: 740I'll never marry whilst I live except I have one of these British ladies. My humor is alienated from the maids of France.
Exeunt.

The History of King Leir (Modern)