Dragon Scales: A Play for Children. Act Three

[For Act One, see here. For Act Two, see here.]

ACT THREE: THE PALACE

[Enter CLARISSA, MELISSA, FRANCHISSA, DOCTOR and PROFESSOR.]

CLARISSA: We had too much excitement
Last night, Melissa. We’re too old
For gallivanting round in forests.
MELISSA: O woe! O woe!
The Palace walls are melting into the floor,
There’s no difference between one room and another.
When I’m in bed I can’t sleep; when I’m awake I dream.
CLARISSA: Alas! There’s nothing lovely left in the land.
FRANCHISSA: My handsome Prince is gone.
CLARISSA: My poor Franchissa, yours is the deepest sorrow.
MELISSA: Don’t cry, Franchissa – I’ll give you my cosmetics –
Any of my best dresses, only don’t cry!
DOCTOR: I can’t understand it. My experiments
Have lost all lustre since the Prince was killed.
PROFESSOR: All night I was hungry, but now food tastes like ash.
Ladies, we’ve acted like a pair of pigs.
CLARISSA: You certainly have!
MELISSA: O please don’t blame them, dear Clarissa!
We must try to comfort one another.

[Enter EMPEROR.]

EMPEROR: Doctor, Professor, I’ve made a decision –
I’ve finally made a decision of my own.
Henceforth you’re relieved of the government!
PROFESSOR: Take it back, sire, with our thanks.
EMPEROR: But O, it wasn’t mine to give away!
Every trust I was given I betrayed;
Why didn’t the Dragon gobble me
Instead of my daughter, the sweetest, brightest girl
Ever to brew her father’s cocoa?

[Enter NURSE, bandaged.]

NURSE: It’s been the worst night I remember.
The wind howled, the raindrops were so huge
They smashed the window in the butler’s pantry.
EMPEROR: My poor dear Nurse, what has become of you?
NURSE: A clap of thunder made me fall downstairs.
I hurt my right arm, my left leg and my chin.

[Doorbell rings.]

Hark! There’s the doorbell!
EMPEROR: I’ll answer it myself.

[Exit EMPEROR.]

DOCTOR: Who can be calling at this hour?
I gave strict orders no one was to leave his bed
Till noon. The streets are empty. Only ash
Stirs here or there in little eddies.

[Re-enter EMPEROR with DRAGON.]

EMPEROR: So I wasn’t drunk when I saw you last!
Ladies and gentlemen, may I introduce
This battered newt of my acquaintance.
DRAGON: Delighted to meet the company, I’m thure.
Forgive my lithp. In my panic thith morning
I fell down a coal-thute and knocked out all my teef.
CALRISSA: You were the beast
Who tried to murder the Prince!
MELISSA: You wanted us all to die in the forest –
I’ve half a mind to knock your brains out too!
DRAGON: Ladieth, it’th true I’ve been a thcoundrel –
Though I made nobody do anyfing
That wathn’t in their natureth –
But now, believe me, I’m an honetht Dragon,
Completeley reformed by my exthperientheth.
Without my teef I wouldn’t latht
Ten thecondth ath a villain anyway.
Tho I’ve come to athk if you have any
Thituathion for a willing reptile
Who will acthept the motht modetht thalary
With almotht thycophantic gratitude.
For inthtanth, I thtew thuper thauthageth!
EMPEROR: Snake, in the past my hearth has welcomed you
Too readily; but if you’re really reformed
And promise not to break the glasses when you’re cross,
You can be the thirty-first assistant chef.
DRAGON: I’m thtricken by your generothity.

[Doorbell rings again.]

NURSE: Hark! The doorbell again!
Who would have thought so many would be stirring
So early in the day?
PROFESSOR: This time I’ll go.
It’ll help to keep my stomach quiet.

[Exit PROFESSOR. Re-enter with CAT.]

See who it is! A black cat on two legs!
CAT: Emperor, could you spare a fishbone?
I’ve lost my friends, my happiness and my bet
And I’m almost dead with hunger.
CLARISSA: Come, poor Cat,
Lie down on this soft rug and lick your paws.
CAT: I’m sorry I bonked your nose, your Majesty.
EMPEROR: I earned it, Cat. You may do it again if you like.

[Doorbell rings again.]

NURSE: Will that doorbell never stop ringing?
DOCTOR: By the law of averages it’s my turn to answer.

[Exit DOCTOR.]

EMPEROR: I wish we could invite the whole country,
All the people, horses, cats and dogs
Into the Palace to warm themselves by the fire;
All the trees to take root in the carpets,
The fields to sprout from the ceilings,
The rivers to run down the staircases
And the stars to illuminate the chandeliers.
Then, perhaps, if they would come,
The Palace might be bright again at last!

[Re-enter DOCTOR.]

DOCTOR: By all that’s statistically improbable!
I’ll throw my logarithms in the lake!
Ladies and gentlemen, see who was at the door!

[Enter GEORGE, PAMELA and CHIEF OF POLICE.]

EMPEROR: All the miracles that ever were,
The cows, the cats, the forests and the stars
Dwindle to nothing beside this miracle!
FRANCHISSA: My constable! Where have you been?
CHIEF: We’ve been fighting the Dragon.
GEORGE: We defeated it.
PAMELA: It came leaping and squawking in this direction –
We were afraid it might have squashed the Palace.
EMPEROR: Come in, sit down, recover your breath,
Speak, breathe, move, show that you’re alive!
My daughter I thought I’d never see again!
Prince George, what can I say? Can you forgive me
What I shall never forgive myself?
PROFESSOR: Or I, Prince George?
DOCTOR: I can hardly define the word ‘forgive’,
But I surrender to your judgement, Prince.
GEORGE: My dear friends, there’s nothing to forgive;
I’m overjoyed to see you safe and sound.
EMPEROR: Your kindness shames us more than anger would.
MELISSA: But dear Princess, won’t you describe the fight?
CLARISSA: Yes, yes, describe the triumph of virtue!
If only my lumbago
Hadn’t prevented me from joining in!
PAMELA: There’s not a lot to tell.
The smoke and flame from the Dragon’s throat
Hid us as we ran towards it;
The Chief of Police reached the monster first
And struck it on the chin so hard
That its teeth snapped shut like the Palace gates.
MELISSA (hitting EMPEROR): What a blow that was! O, sorry, your Majesty!
CHIEF: Then I fell down and it gripped me
In its right foreclaw; the Prince rushed forward
And stabbed the claw so fiercely it let go.
CLARISSA (hitting DOCTOR): Well smitten, Prince! O, sorry, Doctor!
GEORGE: The Dragon twisted round to deal with me,
But the Chief Constable had dropped his knife
Which Princess Pamela snatched up –
Just as the cavernous jaws stretched to engulf us
She stabbed it on the left hind leg!
EMPEROR (hitting PROFESSOR): Coward that I am! What heroism!
Sorry, Professor, are you hurt?
PAMELA: It gave a bellow like a bursting oil-rig
And crashed away through the trees
Raising solid walls of smoke on either side,
Throwing up hillocks with its scrabbling claws,
Driving away the louds with its dreadful yells,
Its blood staining the earth bright red.
CHIEF: And as it went, colour came back to the land.
GEORGE: The hillocks grew to hills and mountains.
CHIEF: The scales that flaked off as it ran
Took root and sprouted into meadows.
GEORGE: The blood became carpets of scarlet flowers,
The tears it wept flowed down the hills like brooks,
The fire became copper beeches and maple trees,
The smoke became little white clouds
Drifting across the blue of its outstretched wings.
PAMELA: We followed it as far as we could.
CHIEF: And before we knew it
There we stood on the Palace’s front doorstep,
Panting for breath, still smarting from the heat.
FRANCHISSA: And welcome as raindrops to the desert!
PAMELA: There are still stretches of ash about,
Still a lot to do before the land is green,
But the change has begun!
GEORGE: I shall paint cows in the meadows again!
DOCTOR: And I shall smash my terrible machine
And apply my genius to healing the damage I’ve done,
A task as jolly as dissecting frogs!
CLARISSA: Melissa, Franchissa and I shall take our dusters
And polish every corner till there’s not a grain
Of ash left in the kingdom.
PROFESSOR: The lizard and I shall join talents to prepare a feast!
EMPEROR: I proclaim this day a public holiday!
I shall have to tell the people what that means.
CAT: And I shall spend a busy time
Licking my tired paws by the fire.
NURSE: My dears, a word before you begin.
Because you’ve made it clear
You can think of others besides yourselves
I can now tell the true story
Of how I hurt my arm, my leg and my chin.
PAMELA: Sit down and rest yourself while you speak.
NURSE: I’ve often told you how I watched
The Emperor’s ancestors fight with the scabulous beasts
Which have plagued this land since it rose from the sea.
Have you ever wondered how your old Nurse
Could have seen so many battles?
The truth is, I was the baleful Bish,
I was the Snipe snicked by the Emperor’s Uncle,
The garrulous Gargle that choked on his Grandpapa,
The streperous Tock with its purple-blotchy hide,
And moreover, I was the Beast in the vegetable patch
And the Dragon you chopped in the forest last night.
GEORGE: But that’s impossible! You’re our beloved Nurse!
NURSE: Haven’t you learnt yet
Never to judge by outward appearances?
I am the guardian of this little land.
In times of prosperity I wear human form
And hire myself as a baby-minder.
EMPEROR: To think I hired a fiend to mind my daughter!
NURSE: But when darkness clutched the land
Or ash plugged men’s ears and made their children sneeze,
Whenever colours faded, or the sky
Was smothered with evil-smelling fumes,
It was my doom to become a monster
And slither to the woods to fight a hero.
As long as someone would fight me,
As long as I was defeated, the land would live,
The fields grow lush, the pear-trees blossom;
But if once a hero failed to meet my challenge
Or fled when he felt the flame of my roar,
The dust would clog your ears and eyes for ever,
The land become a grave, and I be left alone,
A solitary worm wriggling in hollow places.
CAT: So when I tried to dissuade the Prince from fighting
I put the land in danger of destruction!
EMPEROR: And when I plotted the Prince’s murder
I was plotting the murder of my kingdom!
PROFESSOR: How precious a single life must be.
Perhaps when we squash a fly
A star bursts, or a planet detonates!
CLARISSA: Then how many solar systems died
When we wiped out mosquitoes?
DOCTOR: I kept a pair of mosquitoes in a test tube.
If I set them free, in a year or two
There’ll be as many as before.
CLARISSA: Then free them, Doctor dear!
Mosquitoes have such shapely legs, I feel;
Their bites are worth it just to watch them dance!
GEORGE: Nurse, forgive my bluntness,
But how can we tell if your tale is true?
NURSE: The truth is always changing;
Like a mosquito, it never stays in one spot.
But if you need proof, for what it’s worth,
Look at the battle-scars you gave me.
GEORGE: In exactly the places where we struck the Dragon!
Every word of your tale was true!
Come, Nurse, let’s celebrate with a feast!
NURSE: First let me prophesy that by the year’s end
There’ll be six weddings to sing about;
But who will marry whom I leave to you!
Marriage has nothing at all to do with magic.

[Exeunt ALL except CAT and DRAGON]

CAT: So, Dragon, after all I won my bet.
It’s always best to end with a feast and a dance.
You said I could have anything I wanted.
DRAGON: That wath when I fought I had thomefing to give!
CAT: I wonder now; she said six marriages;
And if my calculations are correct
Two people are needed to make each pair.
Twelve people in the Palace, six marriages.
Well, Dragon,
I’ll tell you what I want at the year’s end!
Come now and help me decorate the Hall –
We’ll make it the first bright room in the Kingdom!

 [Dance.]

[The End.]

 

Dragon Scales: A Play for Children. Act Two

[For Act One, see here.]

ACT TWO: THE FOREST

Scene One

[Enter NURSE]

NURSE: I’ve not seen a Prince off on an adventure
Since the present Emperor’s father
Set off to slaughter the streperous Tock!
The bells have all struck midnight;
The people have been told to stay indoors
So that the land is empty. Only moonbeams
Stalk dusty streets and stare between branches.
We’ve come to the forest’s edge
To see the Prince and Princess on their way;
I wonder if we’ll ever see them more?

[Enter EMPEROR, CHIEF OF POLICE, DOCTOR, PROFESSOR, CLARISSA, MELISSA, FRANCHISSA, PAMELA, GEORGE.]

EMPEROR: I’ve liked this plot less and less
Since what happened in the cabbage plot.
DOCTOR: We assure your Majesty that by our calculations
And by the hoofprints in the earth
The beast was nothing bigger than a goat.
EMPEROR: A ghost, you say?
DOCTOR: A goat!
MELISSA: Of course I wasn’t scared, Clarissa.
CLARISSA: Nor I, of course, Melissa. It was a test.
We wanted to try our lovers’ courage!
MELISSA: We knew from the first it was a goat –
But we never guessed what goats the men would prove!
CLARISSA: Franchissa, what’s that object in your hair?
FRANCHISSA: A daisy, a daisy, I picked it by the way!
MELISSA: Why look, the ground is carpeted with daisies
Round the outskirts of the wood.
I haven’t seen daisies since I was a child
Before they were smothered by the ashes!
CLARISSA: Throw it away, at once, my dear,
You don’t know where it’s been.
If you want a flower to stick in your hair
You can have one from the Doctor’s greenhouse.
PAMELA: Aren’t you pleased with the shine on your sword?
GEORGE: Yes, but why can’t I use a gun instead?
PAMELA: Do you think a bullet could pierce a Dragon’s hide?
Only the strength of your arm can do that.
Besides, it wouldn’t be fair play!
GEORGE: You don’t think just a friendly pat would do…
EMPEROR: Ladies and gentlemen, we have arrived.
The time has come to wish my nephew luck
And send him in after the goat, I mean Dragon.
Well, goodbye, young man, and may you get
What you deserve. Believe me, if I were younger,
Or you were older, or my daughter wasn’t mine,
Or the state of the country wasn’t what it is,
You, and I, and the country, and my daughter
Would be in different places, as it were.
DOCTOR: In the name of progress, massacre the monster!
CLARISSA: I wish I could lend an ounce of my virtue
To strengthen your arm!
FRANCHISSA: Good luck, good luck!
NURSE: Remember, if you’re eaten
We’ll have a beautiful funeral waiting!
GEORGE: Before I go, let me say this.
I haven’t been a very dutiful nephew,
But I’ve loved you all in different ways.
MELISSA: A secret apology meant for us!
CLARISSA: I could almost forgive him his rudeness!
GEORGE: I’d like to hope that if I killed the Dragon
The land would be green again, and happy,
But I can’t make that happen on my own.
DOCTOR: He wants us to revert to barbarism!
GEORGE: All I mean is, killing the Dragon hardly matters.
EMPEROR: He means it’s more important to kill me!
How right the Doctor was!
GEORGE: I’m trying to kill my Dragon,
But we all have Dragons to kill.
CLARISSA: He can’t surely mean he wants our help!
PROFESSOR: What a long speech!
Did anyone bring anything to eat?
PAMELA: Come along, George, they don’t understand.
Their heads are buried in the dust.
Goodbye everyone! Our quest has started.

[Exeunt PAMELA and GEORGE]

EMPEROR: At last they’ve gone. Now you all know your parts?
Chief of Police, you have your knife;
I have my blunderbuss; Professor and Doctor,
You have the map of the forest and a torch;
Then each to his position. Goodness me!
I’m enjoying this more than I expected!
Giving orders I feel almost like an Emperor!
DOCTOR [aside]: Tomorrow you won’t feel anything at all.

[Exeunt EMPEROR, DOCTOR, PROFESSOR and CHIEF]

MELISSA: These flowers give me the loveliest idea!
When I was a girl there was something we did
Each Midsummer Eve: we used to dress in green
And go singing and dancing through the forest;
We called it ‘maying’.
CLARISSA: No, no, that was in May.
MELISSA: Maying or Juning, I can’t remember which;
But this was the rather mad idea I had:
Why not pretend this is Midsummer’s Night
And dance and gambol as we did when young?
I’m sure I don’t feel a day older than fifty!
FRANCHISSA: Let’s go prancing, let’s go dancing!
CLARISSA: But Melissa, what about the Dragon?
MELISSA: The Doctor says it was a goat,
And the Doctor knows everything.
CLARISSA: The Professor says it was a cow,
And the Professor knows even more.
MELISSA: Whatever it is, it can’t hurt us.
My dear Melissa, surely you’re not scared?
CLARISSA: Melissa, I only had your nerves in mind –
You shouldn’t strain them at your age.
MELISSA: Of course, you know more about such things
Seeing you’ve six years’ more experience!
CLARISSA: Six! Five and a half at most, my dear Melissa.
MELISSA: Then follow me, my doves; just for tonight
We’ll run mad in white linen
And draw pictures in the sand!

[Exeunt MELISSA, CLARISSA and FRANCHISSA]

NURSE: So the forest has swallowed them all.
I’ve heard say woods can change folks overnight;
But this gadding about is for younger bones
Or crackpots like those crazy ladies.
It’s bitter cold at night in these wastes
And anything can happen in the dark.
No one knows that better than I!
I’ll home to bed with a cup of cocoa.

[Exit NURSE]

Scene Two

[Enter DRAGON disguised as CAT. Then enter GEORGE and PAMELA]

GEORGE: How dismal the trees are in their mossy cloaks;
This place is arched like an underground dungeon.
PAMELA: At least they’re well spaced out.
GEORGE: Don’t tread on dead leaves,
They sound like thunder.
PAMELA: It’s odd, but there are no dead leaves.
Everything’s clean as if it had been swept.
Have you noticed how the trees have changed?
Near the forest borders they were stooped and dead,
A tangle of charred fingers clutching the stars;
But here the trees are taller, straighter,
With little hand-like sprays of leaves.
Where should we start looking for the Dragon?
GEORGE: I don’t care where, so long as we don’t find him!
Some of these treetrunks are the weirdest shapes,
Almost like people, almost like reptiles…
Ouch! Pamela, I touched one and it moved!
PAMELA: That’s no tree, it’s someone dressed in black!
Whoever you are, don’t move an inch!
GEORGE: So still and silent;
Under the folds of his cloak his eyes are green.
Keep behind me, Pamela, I see claws!
DRAGON: Greetings, your Royal Highnesses!
PAMELA: Why, it’s only the Cat we met in the Palace.
What are you doing in this wilderness?
Hurry back to your warm hearthrug
Before your fur gets singed with Dragon-fire!
GEORGE: I don’t trust Cats with scaly noses.
What are those lights beyond the trees?

[GEORGE wanders off]

DRAGON: My last warning didn’t help you much,
So I’ve come to help you find your precious Dragon.
PAMELA: So you’ve decided Dragons do exist?
DRAGON: Not the big sort.
This Dragon’s little, but he’s deadly.
He doesn’t eat people, only their minds;
Nor burn haystacks, but withers corn at the root,
Nor squash palaces, but he froze the heart
That sold the palace bricks to build a prison.
PAMELA: Now there’s a foe worth fighting!
Where does he live, Cat?
DRAGON: In a slimy cave not far from here
Thick with the bitter chemicals he thrives on.
PAMELA: This time, Cat, you’d better be telling the truth!
Come quickly now, we must stick together –
It’s easy to get lost in the dark. Prince George?
What’s so funny, Cat? Where are you, Prince?
DRAGON: My poor girl, nothing can save him now;
You’ll never see the oaf again.
For all your eagerness to find the Dragon
You never guessed you were staring him in the teeth!
Look at me closely, girl! I am the beast!
PAMELA: You tatty bit of snakeskin!
Wait till I get my hands on your mouldy snout!
DRAGON: Stand back, or I’ll bite our fingers off! O dear,
I’m sorry I spoke so rudely, but I’m sure
We’ll meet in happier circumstances soon.
I didn’t lie, my cave’s not far away,
And I beg you to consider yourself invited
To breakfast there tomorrow morning.
You’ll make an excellent dessert
After a main course of Cat!
Goodbye for now; I’m off to watch the Prince
Being kippered by the Emperor and his men!
PAMELA: Don’t think you’ll get away with this –
My nails are sharper than your scaly eyes!

[Exit DRAGON, pursued by PAMELA]

Scene Three

[Enter PROFESSOR and DOCTOR]

PROFESSOR: Doctor Thumbscrew, let me see the map.
DOCTOR: Professor Dumbstew, I gave the map to you.
PROFESSOR: I’ve never touched it in my life.
DOCTOR: Then we must have dropped it somewhere. Hand me the torch.
PROFESSOR: But the torch was yours;
It was one of your inventions with a beam that went round corners.
DOCTOR: I deny that assertion;
It was one of your inventions, without a beam at all.
PROFESSOR: What a labyrinth this forest is!
I feel like a rat in one of my own experiments.
We should never have let it stand.
DOCTOR: First thing tomorrow we shall have it down.
Lucky I know the place like the back of my scalpel!
We sent the Prince in that direction;
Therefore, if we construct a triangle
With angle forty-five degrees at corner B –
PROFESSOR: Good thing my memory’s better than yours,
Otherwise by now we’d be in the Gulf of Bong!
My dear Doctor, the Prince went that way,
Along a radius X of circle Y
Which converges with diameter Z at angle Q…
DOCTOR: Professor, your geometry’s inadequate.
PROFESSOR: Doctor, your trigonometry needs examining.
DOCTOR: How dare you criticize my trigonometry!
It’s healthier than yours!
PROFESSOR: I had mine refurbished only last month.
DOCTOR: Then I have a simple solution. Since you’re so clever
You go your way to find Prince George
And I’ll go mine.
PROFESSOR: Simple but brilliant.
Your empiricism is unequalled;
Pity about the trigonometry!
DOCTOR: The first to see Prince George must whistle thrice.
Come quickly when you hear me whistle!
PROFESSOR: Except of course that I shall whistle first.

[Exeunt PROFESSOR and DOCTOR]

Scene Four

[Enter EMPEROR and CHIEF OF POLICE]

EMPEROR: Chief Constable, don’t walk so fast!
CHIEF: We’ll never catch him at this rate, sire.
EMPEROR: Don’t shout, Chief Constable. Give me the torch!
You never know what slinking thing
You might awaken in the depths.
O curse the dark! If I were Emperor
I’d plant steel rods across the plain
With light bulbs at the tips in clusters
And banish night to shadows under furniture.
CHIEF: But you’re already Emperor, sire!
EMPEROR: Why so I am, and you wouldn’t believe
How tedious it is!
Peace and quiet – what’s that noise?
CHIEF: Stop here a moment, sire. I’ll run and see.
EMPEROR: Don’t leave me alone!
CHIEF: Be calm, your Majesty. It might be the Prince.
You have your blunderbuss and the torch;
In fifteen seconds I’ll be back
With the Prince’s head in my hand, perhaps.

[Exit CHIEF]

EMPEROR: How true. I have the gun. I must be brave.
I think these trees would like to strange me
In their knobbly arms. I find I’ve got the map,
But lines on paper make no sense
In this wilderness. The torch only makes shadows
Leap at me angrily from either side.
These trees are the last in the kingdom;
They hate me for the death of their families!
Go away, trees! It wasn’t my fault!
I wish I was safe at home by a blazing fire.
See how they bristle when I mention fire!
The terrible things I didn’t prevent
Frighten me worse than the things I did.
Listen! Footsteps! Constable, is that you?

[Enter PRINCE GEORGE]

GEORGE: In the name of the Emperor, Dragon, show yourself!
EMPEROR [hiding behind CAT as tree]: The Prince! Quick – off with the torch –
Load up the blunderbuss – horseshoes, tintacks,
Nails, ball-bearings, hooks, electric plugs…
GEORGE: I hear the clatter of its metal scales!
EMPEROR: Aim in the direction of his voice,
Bracing the barrel on this useful branch,
This useful branch attached to this furry stump,
This furry stump with glowing eyes
And seven rows of yellow teeth – O help!
GEORGE: The Dragon’s roaring! Heaven preserve me!
EMPEROR: I’m leaning on a monstrous bear!
Save me, Chief Constable! Come back, come back!

[Exit EMPEROR]

GEORGE: Here it comes! Protect me, Pamela!

[Exit GEORGE]

[Re-enter CHIEF OF POLICE]

CHIEF: Emperor! Emperor! Where have you gone?
Feels like another thunderstorm is brewing!

[Exit CHIEF]

CAT: Not even a Cat can see in this darkness
Filled with roots and hissing twigs.
We can only follow our noses
And hope for near misses.
Why, here the Misses come!

[Exit CAT]

Scene Five

[Enter CLARISSA, MELISSA and FRANCHISSA, singing]

MELISSA: This life is so jolly! The charms of spring!
FRANCHISSA: Hey diddle diddle the Cat and the Dragon!
CLARISSA: Cuckoo, jug-jug, peewit, tuwhit-tuwhoo!
MELISSA: I wish I could still get into that dress
I bought when I turned sixty.
Don’t you miss the colours there were then?
CLARISSA: Never, dear Melissa; we’re better off as we are.
No colour is more distinguished than grey,
And no girls greyer or handsomer than we.
At our age, we are versed in every accomplishment –
Really, the young hardly deserve their youth!
Let us join hands in celebration
That we are what we are, and nothing less!

[They dance.]

MELISSA: There were so many useless things when we were young.
I always thought the Doctor’s greatest triumph
Was the powder that wiped out mosquitoes.
A shame it wiped out all the birds as well,
But it was worth it just to be rid of mosquitoes!
FRANCHISSA: See how thick the flowers are at our feet!
CLARISSA: I never liked flowers. I suffer from hay-fever.
Bless the Professor! He couldn’t cure my hay-fever,
So instead he went to all the trouble
Of wiping out the flowers and butterflies.
So considerate! I wonder how this place was missed?
MELISSA: The Doctor says that by nine tomorrow morning
The world will be perfect. Isn’t that nice?
O Clarissa, why do I feel so sad?
CLARISSA: Yes, I could almost weep for joy myself.
FRANCHISSA: Sing hey, sing hey, the thrush and the jay!
CLARISSA: Franchissa recalls us to our merriment.
I know just the game we could play!
MELISSA: O bully!
CLARISSA: It’s a charm for finding out our future husbands.
MELISSA: My dear, what a simply mad idea!
CLARISSA: At school they called me ‘wild Clarissa’!
Here’s the charm; you have to do the actions.

Seven times we spin around,
Cross our legs and touch the ground,
Throw a daisy in the air,
Follow where it blows, and there,
If the moon is right above
You shall find your only love!

Can you sing that?
MELISSA: Of course!

[They sing it.]

CLARISSA: But it only works if we’re exactly
Underneath the moon. We should be
Further to the West, I think.
MELISSA: Isn’t this thrilling, dear Franchissa?
FRANCHISSA: I’ve already had three husbands.
CLARISSA: Follow me, my merry girls!
Skipping westwards in the moonbeams
To work our wild midsummer magic!

[Exeunt CLARISSA, MELISSA and FRANCHISSA]

Scene Six

[Enter GEORGE]

GEORGE: I seem to have trudged these woods for years,
Calling for Pamela, looking for the Dragon,
Starting at every footfall, falling at every foot.
I’m so hot my cloak is suffocating me;
I’ll leave it here for mice to nest in.
There was a cave a little way back;
I’ll retrace my steps and hide in that.
Heaven protect my poor Princess!

[Exit GEORGE, leaving his cloak on the ground. Enter EMPEROR.]

EMPEROR: Somewhere along this path I dropped the map,
So now I must retrace my steps to find it,
While every bush I pass becomes a bear.
Why, what on earth is this?
A cloak, just like the one the Prince had on!
The best way to escape nightmares
Is to wrap your head in a blanket.
I’m fed up with running from bears, so here I’ll lie
And wait in piece for daybreak.

[EMPEROR lies down. Enter from different directions DOCTOR and PROFESSOR]

PROFESSOR: I know I’m hot on the Prince’s heels –
My tummy’s rumbling, a sure sign
That my prey is close. I’ve brought this ladle
To mash him with…
DOCTOR: I found a map a while ago,
But couldn’t read it in the dark
So I threw it in the brambles. But my calculations
Tell me the Prince is almost in my clutches…
PROFESSOR: I see a shadow over there
As tall and skinny as the Prince…
DOCTOR: Just where I expected, I see a silhouette
As short and chubby as Prince George!
PROFESSOR: He’s no idea what I’m about to do!
DOCTOR: He can’t foresee what he’s about to get!
PROFESSOR: Take that, barbarian! [Hitting the DOCTOR.]
DOCTOR: Take that, you anarchist! [Hitting the PROFESSOR.]
PROFESSOR: O my stomach!
DOCTOR: O my head!
PROFESSOR: Why, I recognize that voice!
DOCTOR: Professor Dumbstew!
PROFESSOR: Doctor Thumbscrew!
BOTH: What the Dragon do you think you’re doing?
PROFESSOR: It’s lucky you didn’t bludgeon me to death!
DOCTOR: No thanks to you I’m not a jellied pulp!
PROFESSOR: Then where in the name of Science is the Prince?
DOCTOR: Our common senses tell us he’s nearby.
We have only to search this glade
With our weapons and our wits alert…
PROFESSOR [Discovering the EMPEROR in PRINCE GEORGE’s cloak]: What’s that bundle like a pickled herring?
DOCTOR: It has a look of homo sapiens about it.
PROFESSOR: Isn’t it wrapped in the Prince’s cloak?
DOCTOR: I can’t see whether it’s breathing or not.
PROFESSOR: Shall I mash it?
DOCTOR: Shall I strangle it?
PROFESSOR: But – O Doctor Thumbscrew, what if it isn’t the Prince?
What if something crawled out of a hole
And knobbled him while we were in the dark?
DOCTOR: Nonsense, Professor, that’s illogical.
EMPEROR [Sitting up]: What men or beasts are these?
PROFESSOR: Thumbscrew! It spoke!
DOCTOR: Dumbstew! It’s not the Prince! It’s eyes are green!

[EMPEROR switches on the torch.]

PROFESSOR: O Lord, its left nostril has lighted up!
DOCTOR: Run, run, in the name of Science!

[Exeunt DOCTOR and PROFESSOR.]

EMPEROR: What a noise! Those must have been the ghosts
Of trees! I’ll wrap my head up in this cloak
And never be tempted to look out again!

[EMPEROR lies down again. Enter PAMELA.]

PAMELA: I think the Dragon was telling the truth
When he said I’d never see Prince George again.
If only someone would help me search!
What’s this? I tripped over a bundle.
No, it’s a body; in the Prince’s clothes!
Prince George? Prince George! No movement;
Stiff and cold…
He’s dead! Pistols and razorblades! I’m alone!
Why didn’t I bring my battle-axe? Where’s the Dragon?

[Exit PAMELA. EMPEROR gets up again.]

EMPEROR: It’s no good, I can’t sleep.
I thought I heard someone weeping beside me.
If only I had a friend to share my dreams with!
I used to think my nephew was my friend.
Well, I must find the Doctor and Professor
And ask them to report his death.

Scene Seven

 [Enter CHIEF OF POLICE.]

CHIEF: What luck to have found this map in the brambles!
I climbed a tree and read it by moonlight,
So here I am alone at the mouth of a cave.
I think I see the Prince inside; but traitor as he is
I can’t bring myself to use my knife. What’s that?

[Enter DOCTOR and PROFESSOR, running.]

PROFESSOR: Help, help! I hear the monster’s claws!
DOCTOR: Save me! Its breath is frazzling my hair!
PROFESSOR: Beware, Doctor, here’s another!
DOCTOR: Get out of my way, you clumsy pumpkin!
CHIEF: Professor Dumbstew, Doctor Thumbscrew, wait!
It’s only me, the Chief of Police.
PROFESSOR: Come back, Thumbscrew. He’s a colleague!
DOCTOR: O, it’s you, is it? No need to shout.
Any news of the monster, I mean Prince?
CHIEF: He’s in that cave, he can’t escape us.
But now we have him, why not let him live?
Life is precious in this wilderness.
DOCTOR: Don’t be a fool, Chief Constable.
This nation is on the very verge
Of a major technological leap.
Only the Prince stands in my way.
So draw your knife and follow me!
CHIEF: Stop! Do you hear that awful wailing?
DOCTOR: It’s coming this way!
PROFESSOR: There’s no escape!

[Enter CLARISSA, MELISSA and FRANCHISSA.]

MELISSA: Hi diddle umkum tarum tantum!
FRANCHISSA: The snake and the pussy-cat went to sea!
CLARISSA: Hickory dickory dock!
Here we are, girls! The moon is directly
Overhead. Are you ready to chant?
MELISSA: Dear Clarissa, my heart is chanting already!
CLARISSA: Then all together, for our future husbands!

Seven times we spin around,
Cross our legs and touch the ground,
Throw a daisy in the air,
Follow where it blows, and there,
If the moon is right above,
You shall find your only love!

CHIEF: What do you think they are?
PROFESSOR: Just listen to the racket!
DOCTOR: Watch their behaviour! Whatever they may be
They’re clearly suffering from lunacy.
I suggest we go about our business
As quickly and quietly as possible.
CLARISSA: Melissa, Franchissa, there stand our husbands!
Run, girls, and catch them! It’s part of the spell!
FRANCHISSA: Run, run, as fast as you can!
MELISSA: See who I’ve caught! The Doctor!
CLARISSA: Mine’s the Professor!
FRANCHISSA: And mine’s a handsome Prince!
CHIEF: I’m not a handsome Prince! Let go!
DOCTOR: We have important business to transact.
CLARISSA: Don’t let them out of your clutches, girls!
The spell says we must dance with them all night!
MELISSA: The moonbeam magic holds you fast,
You won’t escape till morning dawns,
So relax, my dears, and enjoy the fun!
DOCTOR: You’re treading on my corns!

[Exeunt CLARISSA, MELISSA, FRANCHISSA, DOCTOR and PROFESSOR.]

[Enter CAT.]

CAT: The Prince has never been in greater danger.
Excited though they are, the three old ladies
Can’t keep the murderers occupied for long;
And now the murderers know where he’s sleeping.
The Emperor’s approaching from the South,
The Dragon has mounted guard at the cave
To prevent me warning the Prince of his peril,
Princess Pamela I can’t find,
And over all there’s a feeling of tautness
As if an earthquake were about to burst.
I can do nothing on my own!
I begin to wonder whether any of us
Will survive the night.

[Enter DRAGON.]

DRAGON: Cat! Run away before my patience snaps!
My plans work beautifully; all’s confusion!
The Prince has twice escaped his enemies,
But their next meeting shall be the last,
And you shall witness it! Here’s the Emperor.

[Enter EMPEROR.]

EMPEROR: I heard a sound of revelry
Which took me back to my giddy youth
When I wasn’t so fond of peace and quiet.
DRAGON: I should avoid him, Cat;
He hasn’t forgotten that bonk on the nose.
I am invisible to the oaf, of course.
Next the Princess.

[Enter PAMELA.]

PAMELA: I was so eager to rush Prince George to his death!
I’ll never wish anything dead except myself
Ever again! If I meet the Dragon now
I’ll taste like sawdust in his mouth.
DRAGON: Poor girl! What a state she’s in.
Rest here, my dear, till breakfast-time.
By now the scientists have broken free;
Here they come puffing, hotter than ever for blood!

[Enter DOCTOR and PROFESSOR]

PROFESSOR: That’s twice he’s made us look fools!
DOCTOR: I have a thousand lingering poisons
In a cabinet at home;
Would I had brought the most painful of all
To pay him back for the pain in my corns!
PROFESSOR: Keep quiet, Doctor, I hear the mad ladies.
DRAGON: That’s the way, friends; hide behind this tree.
Here comes a party of spectators
For the climax of my masterpiece.

[Enter LADIES.]

CLARISSA: Girls, as soon as you see them, pounce!
We must marry them now to preserve our virtues.
CHIEF: Madam, in the name of the Law release me!
FRANCHISSA: Anything for my handsome Prince!

[She releases him and he falls flat.]

DRAGON: And now for the last item in my entertainment,
The spark that’ll set off the gunpowder:
Ladies and gentlemen, I present – Prince George!

[Enter PRINCE GEORGE.]

GEORGE: I fell asleep listening to the mutter
Of a stream in the depths of the cave;
I woke, and dawn was yawning in the East.
Perhaps I shall see sunrise after all!
DOCTOR [advancing]: I’m afraid there’s little chance of that, Prince George.
PROFESSOR: But there’s one comfort: you won’t be needing breakfast!
PAMELA: Prince George alive! Then I can breathe!
Ruffians, keep your pincers to yourselves;
I’ll never let him out of my sight again!
EMPEROR [advancing]: I suppose this is the moment to act,
Before I begin to regret my decision.
Doctor, let’s get the foul deed over.
CHIEF [advancing]: I can’t stand by and see my master murdered.
He’s better than the three of you put together!
DRAGON: Then I see I shall have to interfere
And finish the tragedy myself.
CAT: No you don’t, Dragon. You’ve cheated once too often!
I trust you remember my claws!
VOICE [from offstage]: Excuse my interruption,
But has everyone forgotten the real Dragon?
ALL: The real Dragon?
DRAGON: What do you mean, impostor? I’m the only Dragon here!
VOICE: You, a Dragon? You’re just an overgrown tadpole!
DRAGON: Cat, this is some trick of yours!
VOICE: This is no trick, earthworm, unhappily for you.
You silly bunch of guinea pigs
Have blundered about my property all night,
Trampling my flower-beds, screaming and wailing
At every glimpse of imagined danger
Without a thought for the danger that’s real.
I was asleep here in my cave
When you woke me with your endless squabbling.
DRAGON: Why, that’s my cave, you fraud!
I don’t believe you’re bigger than a blue tit.
If you’re so grand, come out and show yourself!
VOICE: Here I am, lizard; look at me well!
MELISSA: Out of the cave-mouth a snout is gliding,
Longer than a bus, smoke pouring from the nostrils!
CLARISSA: A pair of eyes like swimming-pools…
PRINCESS: An endless neck…
CHIEF: A body big as the North Wing of the Palace,
Bloated and warty, squeezing between the rocks…
EMPEROR: Hooves sharp as atom bombs…
CAT: A tail that could crush a ship…
And to think I didn’t believe in old-fashioned Dragons!
VOICE: Can you all see me clearly? Aren’t I handsome?
DOCTOR: I’ll burn my books!
This monster defies all natural laws!
PROFESSOR: This monster could eat a forest in an hour!
DRAGON: This monster will eat me for my impudence!
Have mercy upon me, King of Dragons!
PAMELA: Prince, this is the moment we’ve been waiting for!
GEORGE: I’m so scared I can hardly breathe,
But I won’t shame my ancestors! Prepare yourself, monster!
PAMELA: Wait for me, George! I’m at your heels!
CHIEF: I shan’t watch them eaten unaided!

[Exeunt GEORGE, PAMELA and CHIEF OF POLICE.]

VOICE: Not since the death of the Emperor’s father
Have I met such impudence!
EMPEROR: Come back, you fools, there’s nothing you can do!
CLARISSA: The Dragon’s rearing up on its hind legs –
Its mouth is wider than a railway tunnel –
The three of them are running straight
Towards its lower lip! A gush of smoke
Sucks them out of sight – they’re gone –
Run for your lives, girls! All is lost!

[Exeunt CLARISSA, MELISSA and FRANCHISSA.]

EMPEROR: Back to the Palace before it’s too late!
DOCTOR: Back to the metal-walled laboratory!
PROFESSOR: Which way out of this dreadful wood?
DRAGON: Don’t hesitate! Run! My tail’s on fire!

[Exeunt EMPEROR, PROFESSOR, DOCTOR and DRAGON. Loud roaring recedes into distance.]

CAT: How could I have been so blind?
All the while I bickered with the lizard
The real Dragon crouched behind the scenes
With embers throbbing on his tongue.
I was too clever to see past my own whiskers,
And now the morning has broken to bits,
My friends are dead and I’ve lost my bet.
I’m not fit for a Dragon’s dishcloth!

[Music.]

The birds are singing.
I only hear birdsong when I hold my breath,
The endless music that reminds me
We’ll meet again when the dance is done,
For the planets are still spinning round the sun
Like honey-bees around a giant flower.
I’ve lost my bet. I must give myself up to the lizard.

[Exit CAT.]

[For Act Three, see here.]

 

Dragon Scales: A Play for Children. Act One.

[This play was performed by children in the Barn Theatre at Cumnor House School, Danehill, Sussex, in Winter 1983, under the direction of the Headteacher, Nick Milner Gulland. Nick invited me to write it, and I finished it in the summer vacation after completing my degree.

I tried at the time to achieve a measure of gender equality in the cast list, giving an equal number of parts to girls and boys. The focus on climate change remains relevant. But there are attitudes and assumptions here you might want to change in a 2020 performance: play about with the gendering of the couples, give a stronger active role to the Princess, offer a positive view of science to offset the negative ones, slot in some songs – Nick wanted songs! – etc. etc.

The verse was inspired by Ted Hughes’s use of verse in his plays for children, especially The Coming of the Kings. The plot draws heavily on my love of A Midsummer Night’s Dream, which I’ve acted in twice: once at High School, and once in the open air theatre at Cumnor House under the direction of Nick’s father, Hal. I put it here in memory of Hal and Nick, with thanks for everything they did for me.

All pictures are by the inestimable Robin Jacques.]

CAST LIST
In order of Appearance

CAT
DRAGON
NURSE
PRINCESS PAMELA
PRINCE GEORGE
MELISSA
CLARISSA
FRANCHISSA
DOCTOR THUMBSCREW
PROFESSOR DUMBSTEW
CHIEF OF POLICE
EMPEROR

ACT ONE: THE PALACE

Scene One

[Enter CAT, with DRAGON behind]

CAT: O, they’re spreading miles of tablecloth
And lighting chandeliers like palaces;
The ceiling hisses with paper-chains
And the goblets bubble with golden light.
But it’s a sad occasion just the same;
The servants go about with doleful faces
Because the Great Hall is the last bright room in the Kingdom,
And this is the last banquet
The Great Hall shall ever see.
It’s all the fault of that pestiferous Dragon!
DRAGON: What are you doing in my play, Cat?
Get out before I gobble you up!
CAT: I’m sorry to disappoint you, Dragon,
But this play doesn’t belong to you.
Go roast potatoes with your smelly breath!
DRAGON: Impudent hussy, you’re out of date!
Go back to your silly pantomimes
And leave the high art forms to Dragons.
CAT: You call yourself a Dragon!
You’re no bigger than a mouse.
Dragons are as big as palaces,
They shrivel haystacks and gobble princesses,
And what’s more, they’ve been extinct for centuries.
DRAGON: A popular misapprehension.
The giant, palace-burning kind
May be extinct, for all I know,
But these days Dragons are of another ilk
Of which I humbly propose myself
As a not infelicitous example,
Modestly scaled, sophisticated, suave,
With top credentials from the Dragon School.
Just look at my achievements in this land!
From a desert choked with trees and flowers
I’ve transformed it to a recreation-ground,
Flattened the hills, erected endless fences
And softened the vulgar shades of blue and green
To elegant tones of black and white.
Such are the powers of the modern mind. In fact,
The only way I’m like old-fashioned Dragons
Is, that I like to GOBBLE PUSSY-CATS!
CAT: Fiddle, I’m not afraid of lizards.
Go nibble maggots in your hole!
She who speaks the Prologue writes the Play,
And I’ve decided to make this play a comedy.
DRAGON: A comedy! Just hear the creature!
These days nobody wants to laugh!
Moonlight murders and noontime massacres,
These days that’s what draws the crowds.
But I like your cheek, Cat. Let’s make a bet.
If you can make the play end happily
I’ll give you anything you ask.
But if it ends badly, even for one person,
I’ll have your flesh for dinner. Is it a deal?
CAT: Shake hands, crocodile.
I’ll win this bet if it’s my last act.
DRAGON: It will be, Cat, it will be.
Ouch! You forgot to sheathe your claws!

CAT: Just wanted to remind you they were there.

The Emperor passes this way to the Hall;
We’ll wait for him in the broom cupboard!
Come on!

[Exeunt CAT and DRAGON]

Scene Two

[Enter NURSE, followed by PRINCESS PAMELA and PRINCE GEORGE]

NURSE: Come in and let me see you both, my ducks.
O Princess Pamela, I do declare
You’ll taste better than plum cake!
PAMELA: Just let that monster bite my little toe!
It’s about time they changed that stupid rule
That girls are only allowed to watch;
I’d love to belt a Dragon round the chops!
GEORGE: Don’t mention chops, Pamela. I’m not well.
NURSE: And such a handsome Prince!
You’ll make a lovely corpse, if I may say so.
I watched the Emperor’s great-great-grandpapa
Carried home on his shield after bashing the baleful Bish;
So cold and handsome! I cried a fortnight after.
GEORGE: Dear Nurse, don’t talk like that. I’m ill!
PAMELA: I’ve never been so happy in my life!
Think of all those years they taught us
That Dragons don’t exist, and we must concentrate
On Maths and French and Physics; when hey presto!
Out pops a Dragon like a jack-in-the-box
And threatens to eat me up, the lovely creature!
How vexing I can’t bash it. Well, at least
I’ll get a grandstand view of the fight.
GEORGE: My tummy aches when I think what a grandstand view
I’ll get of the Dragon’s tummy!

[Enter CLARISSA, MELISSA and FRANCHISSA]

MELISSA: Clarissa, dear, you look enchanting.
And to think you’re seventy-seven years old last Friday!
How have you kept so young and fresh?
CLARISSA: I’ve kept my virtue, dear Melissa,
Which was better for my skin than ass’s milk.
Imagine, we’re invited to a banquet!
It’ll be almost like old times again.
FRANCHISSA: We’re going to a blanket, we’re going to a blanket!
MELISSA: A banquet, dear Franchissa. Do stop capering
And remember you’re the Emperor’s aunt.
CLARISSA: Remember your age, Franchissa:
Eighty-seven if it’s a day.
Thanks heaven I have tend years left
Before I can call myself old!
MELISSA: Look there! The Prince and Princess, with their nurse!
CLARISSA: How fine the Prince looks in his velvet coat!
How can he bear to look at that plain Princess?
MELISSA: Have you noticed how young the girls are nowadays?
Pamela behaves like a two-year-old.
CLARISSA: Melissa, one need never be ashamed of looking mature!

[Exeunt CLARISSA, MELISSA and FRANCHISSA]

PRINCESS: It’s the first bit of fun we’ve had since the land went grey.
Isn’t being eaten better than emptiness?
Once there were colours, animals and flowers,
But now they’ve gone. This is the last chance!
There’s one dance left, the dance of battle,
One colour left, the colour of battle,
One monster left to battle, the Dragon –
And no hope left at all, except the Dragon.
If you won’t fight the beast, I will!
GEORGE: You’re right, of course, Princess. I’ll fight.
But I’d rather paint pictures of cows!
NURSE: Now ducks, the feast’s about to begin,
So hurry along or you’ll miss the soup.
And for afters there’s a juicy sucking pig
Born and bred in the Doctor’s test-tubes,
All in honour of our handsome hero!
GEORGE: O goodness! Soup and sucking pig! My head!

[Exeunt GEORGE, PAMELA and NURSE]

Scene Three

[Enter DOCTOR THUMBSCREW and PROFESSOR DUMBSTEW]

DOCTOR: Ah, Professor Dumbstew, are you heading for the feast?
A word while we’re alone.
PROFESSOR: Doctor Thumbscrew, let it be short.
My tummy’s rumbling like a washing-machine.
DOCTOR: Professor Dumbstew, we have much
To congratulate ourselves upon.
PROFESSOR: We’ve suffered for science, Doctor Thumbscrew.
I haven’t eaten for at least an hour!
DOCTOR: Think of the state the realm was in
Before we came, five years ago!
Wherever there weren’t mountains there were seas,
Wherever there weren’t flowers there were trees –
There were no rules! It was chaos!
But we soon changed all that with our golden rules.
Do you remember mine?
PROFESSOR: Could I forget it?
Every-man-is-a-cog-in-the-great-machine, you used to say.
And have you forgotten mine?
DOCTOR: That every-man-is-a-drop-in-the-primal-stew?
I have it engraved on a pedestal in my brain.
Why, these two rules transformed the land!
PROFESSOR: The air became soup!
DOCTOR: The fields became perfect squares!
PROFESSOR: The sun and the moon were lost in a permanent gravy.
But what was out reward?
Not so much as an extra course at dinner.
DOCTOR: Not so much as a peasant or two
To experiment on in the peace of our laboratories.
Yet we brought our research to fruition –
We invented that great machine in which every man is a cog.
From now on everything anyone does
Shall be a miracle of efficiency!
PROFESSOR: A triumph of taste!
DOCTOR: We simply plug them into our new machine
And nobody shall think, laugh, cry,
Eat sweets, or do anything that’s bad for them
For ever and ever. It’ll be Paradise!
Everyone in the world shall be a cog
Excepting you and I, Professor Dumbstew,
Whose task it will be to oil the joints.
PROFESSOR: But the Emperor will never let his people
Be plugged into this marvelous mechanism!
DOCTOR: The Emperor is one of the last of the backward race
We found when we first arrived in this backward land.
But Prince George is a different kettle of fish.
The lad is sharp – I tutored him myself –
But his consciousness has been preconditioned
To outmoded notions of morality.
I have therefore arranged for him to disappear.
This feast is the last Prince George shall ever taste!
PROFESSOR: The Emperor’s death will be easy to fix,
A drop of something in his porridge oats,
And then I shall marry his elderly aunt –
DOCTOR: And I shall marry his beautiful daughter –
PROFESSOR: And the rest shall be plugged into the machine –
DOCTOR: And I shall be King, and you shall be Queen!
PROFESSOR: And I shall be King, and you shall be Prime Minister.
DOCTOR: Not a word about this to anyone.
PROFESSOR: We mustn’t spill the beans. Look, here he comes!

[Enter CHIEF OF POLICE, followed by EMPEROR]

CHIEF: Make way for his Imperial Majesty!
EMPEROR: I wish you wouldn’t shout, Chief Constable!
Everywhere I go, make way, make way.
Peace and quiet, peace and quiet, all I want is peace and quiet!
DOCTOR: Good evening, sire. Is all prepared?
EMPEROR: The banquet’s ready, if that’s what you mean.
DOCTOR: No, your Majesty, I meant the affair of the Prince.
Will he be in the forest tonight, alone?
EMPEROR: Yes, unless he’s too frightened, in which case
He’ll run through seven kingdoms before he stops,
Which will serve our purpose just as well.
DOCTOR: Then by tomorrow, Emperor,
You may be assured of peace and quiet.
PROFESSOR: Yes, by tomorrow, Emperor,
For you, all will be silent as plum cake!
Come, Doctor, let us hurry to the table!

[Exeunt DOCTOR and PROFESSOR]

EMPEROR: Now I wonder what those two were discussing
So privately when I came in?
Since I put the government in their hands
I’ve hated to see them talking on their own.
Thank you, Chief Constable. Leave me alone.
CHIEF: To hear is to obey!

[Exit CHIEF OF POLICE]

EMPEROR: I wish you wouldn’t shout, Chief Constable!
Now what I need is a drop of medicine
To strengthen me for the dirty deed ahead.

[Enter CAT and DRAGON]

CAT: Good day, and better days to come, your Majesty.
DRAGON: Don’t mind the Cat, your Majesty. Good day!
EMPEROR: Goodness this alcohol works quickly!
I hope I haven’t overdone it.
CAT: Did I hear something about a dirty deed?
DRAGON: Sounds exciting! Tell us more.
EMPEROR: O, it’s not exactly a dirty deed.
I’m going to kill my nephew in a forest.
CAT: I thought there weren’t any forests left.
DRAGON: Of course there’s a forest, you ignorant Cat –
A single forest in the North of the Kingdom,
A dark damp forest fit for dark damp deeds.
Don’t mind the Cat, your Majesty. Go on!
EMPEROR: I’m sending him to save my daughter from a Dragon,
Though the last Dragon in the Kingdom died
By choking on my Grandpapa
And Dragons are therefore now extinct.
DRAGON: Except we subtle Dragons of the mind.
CAT: Shut up, fossil! Go on, Emperor.
EMPEROR: Well, though there are no Dragons left,
The air has gone so grey, the earth so ashy,
The trees so stunted and the rain so bitter
That one would think a Dragon had been ravaging the land.
So tonight the Prince goes off to the forest
To fight a beast that doesn’t exist,
And when he’s dead I shall have peace at last.
Now let me drink my medicine in peace.
Explanations give me a headache.
CAT: But why do you want to kill the Prince at all?
DRAGON: Remember, curiosity killed the Cat!
EMPEROR: If you must know, the Doctor says he’s dangerous.
Is that enough for you?
CAT: And you believe whatever the Doctor says?
EMPEROR: Anything for peace and quiet.
CAT: That’s not fair. In fact, it’s dictatorial!
DRAGON: Dictatorial! Where did she learn that word?
Did you hear the Cat, your majesty? Dictatorial!
EMPEROR: I can hear you both, crocodile. I’m not deaf.
DRAGON: But insult of insults! A common Cat!
Dictatorial, You? She should be shot!
EMPEROR: Nobody respects me any more.
The other day my daughter called me Pugface.
DRAGON: If I were Emperor I wouldn’t stand it.
After all the good you’ve done your country!
EMPEROR: By Jove, lizard, you’re right!
Her insolence has turned my medicine sour.
Why, I’ve never hurt a fly in all my life!
I’ll have the cheeky creature boiled and stuffed!
CAT: You wooden-headed puppet of an Emperor!
EMPEROR: O my heart! An insult!
CAT: Here you sit, dreaming of peace and quiet
While your kingdom turns to cobwebs round your feet!
I’ll give you medicine. Take that, and that!
EMPEROR: My nose! Chief Constable! Fire! Murder! Help!

[Exeunt CAT and DRAGON. Enter CHIEF OF POLICE]

CHIEF: No need to shout, your Majesty. I’m here.
EMPEROR: There was a Cat-thing and a Lizard-thing,
And the Cat-thing upped and bonked me on the beak!
O! I have caught an everlasting cold!
CHIEF: You’ve taken too much medicine, sire, that’s all.
Your medicine always makes your nose go red.
A Lizard-thing, you say? That’s odd.
Earlier this evening, as I did the rounds
In a dark passage in the North Wing of the Palace,
I glimpsed a strange phenomenon at the window…
EMPEROR: What sort of strange phenomenon?
CHIEF: There was a fierce dust-storm at the time,
And you know when the dust blows these days
Nobody dares to leave the house;
It looked like clouds of smoke rolling from Earth to Heaven.
Yet there was another movement in the smoke,
As if the night were shifting in its sleep,
And the floor trembled under my feet.
EMPEROR: No doubt an earthquake.
There’ve been more since we went progressive.
CHIEF: That’s what I thought. I approached the window
And suddenly I could have sworn I saw
A scaly eye blinking among the dust-clouds.
EMPEROR: You’re not employed to swear.
CHIEF: I knew I was dreaming, because if it had been real
The creature would have been bigger than a haystack,
Bigger than the North Wing of the Palace.
EMPEROR: Don’t mention wings! The Dragons are extinct –
Only the Prince thinks Dragons still exist.
Your part in my plot is confusing your brains!
Is your dagger sharp? I’d hate to think
You were untrustworthy.
CHIEF: True as steel, your Majesty. I won’t mention it again.
EMPEROR: Then escort me to the feast, Chief Constable.
I must ask the Doctor to change my prescription;
This stuff’s too strong for my tender head.

[Exeunt EMPEROR and CHIEF OF POLICE. Re-enter CAT and DRAGON]

DRAGON: You see, Cat? You’re ineffectual.
I hear they need a Puss-in-Boots at Haywards Heath;
Why not apply for the job? They can only refuse!
CAT: Very clever, Dragon, but I’m not finished yet!
The Emperor’s a mouse hardly worth catching –
I’m after bigger fish.
DRAGON: Just keep out of my path,
Or I might find myself too hungry
To leave my dinner to the final Act!

[Exeunt CAT and DRAGON]

Scene Four

[Enter NURSE]

NURSE: Bless my soul, can you hear the banquet?
Between the soup and sucking-pig there’s salmon,
Rosy-pink salmon on silver platters,
And eighteen different puddings that nobody will touch,
Made of a new kind of edible plastic
Invented by the Doctor.
But it’s a solemn banquet just the same;
People laugh with eyes glazed like jellies
As they did on the night the Emperor’s Uncle
(The one the poets nicknamed Beolamb)
Went out in his armour to savage the sedulous Snipe.
I’m here to light the ballroom lamps;
I haven’t waltzed since my second husband died!

[Enter CHIEF OF POLICE, EMPEROR, PAMELA, GEORGE, CLARISSA, MELISSA, FRANCHISSA, DOCTOR, PROFESSOR, and behind them, CAT]

CHIEF: Ladies and gentlemen, take your partners for the waltz!
EMPEROR: I wish that fellow wouldn’t shout!
Well, Aunt, we had better set an example.
Madam, will you dance?
FRANCHISSA: With all my heart!
GEORGE: I feel a little better now, Pamela.
Will you dance? We may not get another chance.
MELISSA: Did you see, Clarissa? I’ve been snubbed!
There I stood on the other side of the room,
Waiting for a partner, radiant with beauty,
When George took the hand of that saucy trollop!
CLARISSA: Melissa, thank Heaven you saw him for what he was
Before your virtue was endangered.
Myself, I knew him rotten to the core
Since the first course of the banquet,
When he passed the rolls to Pamela
Before passing them to me.
MELISSA: Tush! We can do without the young.
Now observe that Doctor Thumbscrew in the corner;
Wouldn’t a woman break her heart for him?
CLARISSA: A dashing figure! But my tastes
Incline towards the thoughtful Professor.
Come, Melissa!
Beauty and Virtue offer themselves to Science!
BOTH: Good evening, gentlemen! Will you join the dance?
EMPEROR: My goodness, Aunt, how quickly you can waltz!
CAT: Round and round the Prince and Princess whirl;
Somehow I must speak to them before the evening ends.
The lizard is wolfing salmon scraps in the kitchen,
But the Doctor keeps an eye fixed on the Prince.
CHIEF: It’s odd, I feel a crackling in the air
As though a thunderstorm were building up.
Yet the dust has settled,
And the moon for once is clear as ice.
I think I’ll go the rounds again
To see that the guards are keeping their eyes peeled.

[Exit CHIEF]

CLARISSA: What do you think of Dragons, dear Professor?
PROFESSOR: A mythical beast reputed to swallow Princesses.
It must have had an excellent digestion;
I fear I’ve eaten too much sucking-pig!
CLARISSA: I think of Dragons whenever my virtue’s in peril.
A thousand Dragons dance with me tonight!
MELISSA: How rude the young are these days, Doctor Thumbscrew!
They need ruling with an iron rod.
DOCTOR: How pleasant to find we share an opinion!
You must visit my chambers one day and examine my blueprints!

[Re-enter CHIEF OF POLICE and NURSE]

CHIEF: Sound the alarm! There’s something in the garden!
NURSE: Call out the guards! It’s trampling the cabbages!
CHIEF: The second-best kitchen is on fire!
EMPEROR: Report to me in the cellar, Chief Constable!

[Exeunt in different directions EMPEROR, NURSE and CHIEF OF POLICE]

PAMELA: Come on, Prince George, we’ll chop its tail to shreds!

[Exeunt PAMELA and GEORGE]

CLARISSA: Save me, Professor Dumbstew!
MELISSA: Protect me, Doctor Thumbscrew!
DOCTOR: Dumbstew, you have the keys to the laboratories –
The walls are fireproof, we can hide in there.
PROFESSOR: Women aren’t allowed in the laboratories,
You’ll have to hide elsewhere.
MELISSA: But Doctor, the words that passed between us!
CLARISSA: Professor, the whispers we exchanged!
PROFESSOR: Now don’t be difficult, ladies.
We great men have a duty to survive
So that when all else is destroyed
We can restore celestial Civilization.
DOCTOR: Civilization has no need of women.
We hope the fire display is to your liking.
Good night!

[Exeunt DOCTOR and PROFESSOR]

CLARISSA: You basilisks! We’ll scratch your eyes out!

[Exeunt CLARISSA, MELISSA and FRANCHISSA]

CAT: Now I wonder what this monster is,
Since you and I know Dragons don’t exist…
At least the alarm has broken up the party
So there’s more chance of speaking to Prince George.

[Re-re-enter CHIEF OF POLICE]

CHIEF: This is dreadful! The guards have run away
Swearing they won’t protect a cowardly Emperor,
All the Royal Family
Except the Prince and Princess Pamela
Are hidden in different cupboards in the cellar,
And the Doctor and Professor are locked in their laboratory
Refusing to answer the door. It’s chaos!

[Re-enter PAMELA and GEORGE]

PAMELA: We put the fire out in the kitchen, Chief Constable.
GEORGE: I burnt my finger. Look, it’s gone red!

[Re-re-enter NURSE]

NURSE: Thank Heaven I’ve found the three of you at last!
I’ve looked in every cupboard in the Palace.
CHIEF: I left you watching from an upstairs window.
What news of the monster? Did you see it clearly?
PRINCESS: Did it have wings?
GEORGE: Did it look poorly at all?
NURSE: I saw the baleful Bish bashed by the Emperor’s ancestor,
And the garrulous Gargle that choked on his Grandpapa,
And the sedulous Snipe skewered by his valiant Uncle,
But my sight’s not as good as it was;
I didn’t see the monster in the garden clearly.
I saw a pair of shining horns and two pairs of cloven hooves,
I heard its fearful bellow and the cracking of its teeth –
It was bigger than the North Wing of the Palace!
But I didn’t get a closer glimpse
Before it lolloped roaring back to the forest
Sending up clouds of ash at every stride.
PAMELA: How annoying of it to run off
Before we could give it a reason for running!
CHIEF: It’s gone! We’re rescued! Come on, Nurse,
We’ll inform the Emperor at once.

[Exeunt NURSE and CHIEF OF POLICE]

PAMELA: Wasn’t it fun to feel the beast so close?
I hope it wasn’t frightened by our racket;
It’ll be a shame if the beast’s too scared to fight.
GEORGE: It wasn’t too terrifying, was it, after all?
I thought I was quite plucky in the fire.
Do you think I’m getting braver, Pamela?
I’m almost looking forward to – O help!

[CAT approaches]

CAT: Good evening, your Royal Highnesses.
GEORGE: A talking Cat on hind legs! It’s a werewolf!
CAT: No, not a werewolf, just unspeakably clever.
I’ve come to warn you of a plot!
PAMELA: Are you the plot?
CAT: No, I’m the Cat, I tell you.
There’s no time for discussion, you’re in danger.
Listen: the Dragon you’re to fight tonight
Doesn’t exist, it’s merely a device
To get you in the forest on your own
And have you horribly murdered in the dark!
Prince George, don’t leave the Palace walls tonight!
GEORGE: The Dragon doesn’t exist? Then how do you explain
The monster Nurse saw in the cabbage-bed
With horns and cloven hooves?
CAT: What else has horns and cloven hooves?
GEORGE: A cow.
But I love painting what few cows are left
In their ashy meadows, and I know cows don’t breathe flames.
How could a cow set a house alight?
CAT: Kitchens are always catching fire;
Cook probably left a bun loaf in the oven.
PAMELA: But what about its size?
Cows aren’t as big as haystacks, let alone
As big as the North Wing of the Palace!
CAT: The Nurse was frightened, she exaggerated.
Besides, she said herself her sight is poor.
O Pamela, trust me for the Prince’s sake!
PAMELA: How can we tell you’re an honest Cat?
You’re probably trying to make us miserable
Like everyone else in this wretched Palace!
Nurse never told an untruth in her life.
CAT: Princess. It’s George’s life at stake;
You’d better let him decide.
Look at me, Prince! You know I’m telling the truth!
GEORGE: Certainly what you say sounds reasonable.
It’s possible she could have been mistaken;
And the Emperor hasn’t addressed me for several days.
PAMELA: O George, don’t trust the Cat!
What shall we do if we don’t go into the forest?
Shall we sit around and moulder like the Emperor?
Or murder the flowers like the Doctor?
Or sit at home pulling off spiders’ legs!
CAT: The Prince must make up his own mind, Princess.
Will you go to the forest and meet your doom?
GEORGE: Don’t think I doubt your goodness, Cat,
But it seems to me that whether I believe you or not
I’m likely to end up eaten or murdered;
And I’d rather act than sit in a dither at home.
I only hope I give the Dragon heartburn!
PRINCESS: Then you’ll fight after all! I knew you would!
O George, I love you better than a left to the jaw!
Come along, I’ll polish your armour to sunbeams!

[Exeunt PAMELA and GEORGE. Enter DRAGON]

DRAGON: Why, Cat, you’re looking down-in-the-mouth!
Have you failed again? Perhaps I should eat you now
And save you any further misery!
CAT: Shut up, serpent. You’re not playing fair!
I knew all along there wasn’t a cow in the garden,
Because the eye the Chief Constable saw
From the window of the North Wing corridor
Had scales! You’ve been up to your tricks again!
DRAGON: Now don’t you act the injured innocent!
I’ve been in the kitchen all the time
Picking the salmon bones. The cabbage-bed monster
Was you yourself, dressed in a Dragon suit,
Trying to scare the Prince into staying at home!
CAT: Don’t try to fool me, Dragon. It was you!
DRAGON: I’d scorn to lie to a Cat. I’d eat you first.
CAT: Then – what was in the cabbage bed tonight?
DRAGON: Suddenly I feel prickles all over my hide.
We sophisticated Dragons
Don’t like unexplained phenomena.
CAT: We Cats don’t like mysteries we can’t solve.
DRAGON: If I find you’ve been lying –
CAT: If I find you’re a double-crosser –
DRAGON: Well, we won’t discuss it now.
Whatever the answer to this riddle
It’s plain you’re rapidly losing the bet.
Soon the Prince will be stumbling through the forest,
And the forest is my kingdom, Cat!
CAT: There you go again, claiming what isn’t yours.
Anything can happen in the dark. Remember,
I said I’d win if it was my last act.

[Exeunt CAT and DRAGON]

[For Act Two, see here.]


Nicholas Stuart Gray, Down in the Cellar (1961)

Nicholas Stuart Gray is a name which is mostly missing from histories of children’s literature, but which rouses strong passions in those who admire his work. He started out as a respected children’s playwright, his first play being performed in 1949, and worked on many productions throughout the 50s and 60s with his close friend the stage designer Joan Jefferson Farjeon. The plays are all based on fairy tales, though they also include a version of the great medieval fairy poem Gawain and the Green Knight. Not much is known about his private life apart from the fact that he describes himself in blurbs as a ‘Highlander’, that some of his books are set in Sussex and Devon, and that he went on cycling holidays with Joan Jefferson Farjeon in Provence. I discovered him by chance in the early 80s when a friend lent me a copy of his first novel, Over the Hills to Fabylon (1954), about a magical moving city ruled by a paranoid monarch (think Howl’s Moving Castle with a cast of thousands). After this my grandmother took to buying me his books one by one for birthdays and Christmases: The Seventh Swan (1962), The Stone Cage (1963), Mainly in Moonlight (1963), The Apple-Stone (1965), Grimbold’s Other World (1965), and my favourite, Down in the Cellar (1961), magnificently illustrated by Edward Ardizzone.[1] There are several more I haven’t read, and it’s time the whole oeuvre was brought back into print to delight and move new generations. I’m not the only one to think so. This blog post stems from a rereading of Down in the Cellar after Gray’s name was mentioned on Twitter by Neil Gaiman, which led to an outpouring of praise for him from Ellen Kushner, Katherine Langrish, Garth Nix and Terri Windling, among many others. That’s a roll call that should make publishers sit up and take note; and I hope a few words about Down in the Cellar will add fuel to the flame.

Gray’s book is an unsettling fusion of disparate elements that locate it precisely in the time and place of its composition. The plot is misleadingly simple. Four young siblings – Bruce, Julia, Andrew and Deirdre Jefferson, who share their family name with Joan Jefferson Farjeon – are staying in their uncle’s rambling Rectory in the South Downs when they find an injured man in a disused cave. The man tells them he is on the run, and they decide to hide him in a half-forgotten cellar of the Rectory, which they happen to have stumbled across a few days earlier. Having hidden him in the cellar and done their best to tend his wounds, the children suddenly find themselves under siege by a range of threatening forces: from the Rector’s stern but affectionate housekeeper, Old Mim – who is afraid the cellars have rats in them and wants to call in the ratcatchers, like Mrs Driver in The Borrowers (1952) – to the local police, who are on the lookout for a runaway whistleblower; from a conspiracy of unpleasant grown ups who belong to the ‘Spinners and Weavers Club’ – clearly a witch’s coven – to the sinister, barely-visible ‘Green Lantern people’ who infest the hills and fields around the Rectory. All these forces show a keen and unwelcome interest in the cellar and its occupant, while the stranger himself gets increasingly ill as the book goes on, his condition worsening despite the best efforts of Bruce, the eldest Jefferson, who plans to be a doctor or a vet when he grows up ‘Depending on which examination is the easiest’ (p. 9). The novel, in other words, mixes together elements from the Scottish Border Ballads, horror stories and spy thrillers (two of the people tracking Stephen are foreign agents who want to assassinate him for betraying state secrets), as well as children’s fantasy fiction of the sort popularized by Edith Nesbit in the 1900s. The shadow of the Second World War hangs over the narrative in the form of the cave, which was constructed as a shelter to protect the villagers from German flying bombs; while the atmosphere of paranoia generated by the search for the injured man, led as it is by policemen and assassins, locates the action in the decades-long stand-off between superpowers which culminated in the Cuban Missile Crisis of 1962. This modern political context competes for centre stage in the book with a legendary past embodied in the ‘old Roman Camp’ (a prehistoric barrow frequented by the Green Lantern people) and an ancient fairy hill which once stood where now the Rectory stands, and whose entrance may still be concealed in a wall of the cellar. This fusion of ancient and modern narratives, none of which is fully articulated – the Cold War is never mentioned, the words ‘fairy’ or ‘Sidhe’ (i.e. people of the hills) are never uttered – gives the whole story an air of uneasy mystery. At no stage are we offered a full explanation for what is happening in the narrative, or how the competing strands of it fit together, and this refusal to elucidate is what makes the book so strange, with a strangeness that speaks to the uneasy historical moment when it first saw print.

The four Jeffersons

This is a crosshatch novel, in other words – to borrow John Clute’s term from the Encyclopaedia of Fantasy. The word was repurposed by China Miéville in The City and the City (2009) to describe districts claimed by two or more competing cultures or political authorities at the same time. As I’ve suggested, the first sort of crosshatching one can see in the novel is the literary variety. It’s indebted to a range of authors for specific elements in its make-up: Edith Nesbit for the first person narrative from the point of view of a child protagonist; C. S. Lewis for the rambling house where the children stay with an elderly scholar, the village Rector; John Buchan for the spy story element, which comes to the fore when the children are pursued through the night by a pair of grim-faced labourers, clearly assassins in disguise; and John Masefield for the Spinners and Weavers Club, led by the silky Mr Atkinson, which closely resembles the coven led by Abner Brown in The Midnight Folk (1927) and The Box of Delights (1935). The crosshatching of time, meanwhile, in the novel – which fuses the unimaginably ancient with the historical and the modern – is foregrounded by the chronologically ambiguous spaces in which the action unfolds. The bomb shelter, for instance, keeps slipping between time periods in the children’s imagination as they approach and enter it. Julia is afraid to go in because it was constructed ‘ages back, and things might have come to live there since’ (p. 29). Andrew suggests that its inhabitants might be troglodytes or ‘cave-men’, and when Bruce claims that the shelter could have made quite a pleasant modern refuge if well stocked with ‘oil-stoves and […] people’, his brother points out that ‘the cave-men would have lit huge fires and roasted bears for their dinner’ (p. 31), and speculates that the person hiding there might be a ‘left-over cave-man […] drawing bison on the wall’ (p. 31). For the youngest Jefferson, Deirdre, the location has an emotional and supernatural resonance rather than a historical one, as the place where ‘Sad people’ come when they need to cry (p. 30). The strange young man they find in an inner chamber of this shelter resembles by turns a Dickensian ‘escaped convict’ (p. 36), a ‘hunted Cavalier, or a Jacobite in hiding’ (p. 37) – like someone from the work of Captain Marryat or Buchan – and a supernatural being, when he gives a laugh ‘of the sort a ghost would make, if it wasn’t trying to be frightening’ (p. 40). The liminal status of the cave perfectly suits the liminal status of the young man hiding in it, who is stranded between different ideologies (as we deduce later), different countries, and different realms of possibility – that is, between the everyday, the world of espionage and the supernatural, the last of these being in the end the only space available to him as a means of escape from his predicament. He is also caught between the living and the dead, since his younger sister (we later learn) is dead – killed in a car crash – yet he keeps mistaking Deirdre for her. This explains his status as simultaneously one of the ‘Sad people’, who make their way to the cave as a place of mourning, and a kind of ghost suspended between a lost past and an impossible future. Neither healthily stable nor unquestionably doomed to imminent termination, his life is precarious, and might be cut short at any moment either at the hands of the various enemies who are looking for him or by the fever that takes hold as his injury worsens. The fever is a perfect metaphor for his precarious situation and unstable identity, and it worsens as that precariousness and instability grow more intense.

Discovering the cellar

Crosshatched spaces like the cave keep cropping up throughout the novel. There is the cellar of the title, the ‘dark and cobwebbed underworld’ (p. 7) where the children act out games across time and space – Boadicea against the Romans, King Solomon’s Mines, the Babes in the Wood, representing history, adventure romance and fairy tale respectively, all blended and blurred together in the subterranean twilight – and where they later hide the young man, Stephen. The cellar occupies the space where once there was a hill – ‘It was supposed to be a magic one, with sort of people living inside it, and things’ (p. 86) – which was then dug out to make a sandpit and afterwards leveled to provide foundations for the Rectory, that pillar of the eighteenth-century establishment. In former times the cellar served as a storage place for horse’s harness, sacks, wine and other necessities, but by the time the children find it there is nothing left there of any value apart from abandoned odds and ends they use in their games. The nearby village is another liminal space, divided between very old houses like the chemist’s, ‘with its beams showing among the narrow, pink bricks’ (p. 137), and new buildings like the Home Made Cake and Tea-Shoppe, which is a crude pastiche of an older structure: ‘This building also had beams showing, but they were quite new, and rather obvious as they were stained black against the white-washed wall of the front’ (p. 140). The fakeness of the Tea-Shoppe means the children don’t ‘care for it’ much, and also makes it the ideal meeting place for the Spinners and Weavers Club, whose harmless hobbies serve as a front for their machinations against the fugitive, Stephen. A third crosshatched place is the Roman Camp or mound, which is equally associated with the practical Romans and the elusive Green Lantern people. This is a ‘hump like a gigantic mole-hill’ (p. 163), under which the youngest Jefferson is imprisoned at one point by its supernatural occupants, and where the members of the Spinners and Weavers Club converge to barter with the three older Jefferson children for her release. The mound’s joint connection with the Romans and the ahistorical fairies is rendered confusing by the actions of the Spinners and Weavers as they gather round it. As the eldest Jefferson, Bruce, points out, his younger sister ‘said they wove circles and spells. I knew nothing about spells… who does? […] But these people were certainly weaving circles’. The link between magical and physical weaving sets the boy’s thoughts ‘whirling’ or spinning in his head (p. 167), making it hard to focus on the problem of how to win back his imprisoned sister from the mound that impossibly contains her. Is rational thought or a spell the appropriate instrument for her salvation – or should one try a combination of the two? Crossing a Cold War thriller with a fairy story makes the answer uncertain, especially for Bruce, who does not believe in fairies, yet finds himself faced with what seems incontrovertible evidence that they have stolen away his sister.

The solution to Bruce’s dilemma comes from an unexpected quarter: a pair of young and irritating children, Robin and Karen Meddings, who inhabit the most radically crosshatched building in the village. If the Jeffersons find the Home Made Cake and Tea-Shoppe repulsive for its fakery, the Old Forge is more repulsive still, as Bruce explains:

It’s all got up with wrought-iron gates, and lanterns, plaster doves on the roof, and… believe it or not… a plaster deer on the lawn! […] Where the blacksmith used to have his furnace, they have an anvil standing in the fireplace. And the room is packed to bursting with warming-pans, and horse-brasses, and candlesticks wired for electric light, and a wheel hung from the ceiling for more electric light. It’s like a tea-shoppe. We were only asked in once. Julia says we shouldn’t have laughed. Honestly, we didn’t do it loudly, I thought. (p. 23)

The Meddings children who live in this mocked-up Forge are, for Bruce, as fake as their home’s interior décor. They are always simpering and deferring to one another, behaviour that conceals the fact that they are no more angelic at heart than ‘normal’ children like the Jeffersons:

It’s not as though they really meant it. They only do this act when anyone’s watching. I saw Robin once snatch a sweet from his sister, just as she was putting it in her mouth. And she screamed and kicked him. It wasn’t pretty, but at least it was normal. Then they saw me, and started bowing and smirking to each other sickeningly. They may grow out of it. (p. 24)

Bruce’s distaste for the Meddings children’s hypocrisy, as he sees it, makes him treat them ‘’orribly’ (as Robin puts it) whenever he meets them. At one point Robin and Karen have the misfortune to show up at a point when tensions are at their highest – with the cellar under siege by its enemies – and Bruce lets off steam with a fierce tirade against the youngsters as if they embodied all the sinister forces ranged against him in one small package: ‘“Silly brats!” I shouted at them. “Dotty idiots! Showing-off asses! Don’t stand there staring, in front of your silly house. ‘Old Forge’, indeed! It’s an old forgery!’ (p. 135). On this occasion Bruce only succeeds in upsetting his own siblings as well as the Meddingses, making it one of his many moments of physical and social clumsiness in the narrative. Indeed, his resentment of the Meddings children may well stem from the fact that they seem at ease in an adult social context which he finds completely unfathomable, and which he is always failing to negotiate owing to the difficulty he has in concealing his feelings or finding words to convey his meaning.

In the chemist’s shop

At the same time, his association of Robin and Karen with Stephen’s enemies is hardly surprising, since all of them are adepts in the art of concealment. Not only does the Spinners and Weavers Club meet in a Tea Shoppe that closely resembles the Old Forge in its faux-medieval aesthetic, but the Spinners and Weavers themselves are past masters in the art of interweaving truth and falsehood, just like the Meddings children as Bruce sees them. When Bruce meets the Club’s leader, for instance – Mr Atkinson – he at once gets caught up in a complex web of lies and half-truths. Yes, Mr Atkinson is an old university ‘friend’ of the Rector’s, as he claims, but the word ‘friend’ is a misnomer, since the Rector later confesses ‘I didn’t like him very much’ (p. 90). Yes, Mr Atkinson has been given permission to sketch in the parish church, but he can’t be sketching a ‘crusader’s tomb’, as he insists (p. 82), because there isn’t one. The old man keeps addressing Bruce as ‘little boy’, which is both true and false, since Bruce is indeed young, but has no conception of himself as ‘little’ and so feels humiliated by the description. And Bruce does indeed have a ‘secret’, as Mr Atkinson insinuates (p. 81) – he is hiding Stephen – but the old man has secrets too, and the lie about the crusader’s tomb suggests that he will not willingly part with them. The same mixture of truth and falsehood characterizes the other members of the Club. The woman in the chemist’s shop, for instance, is really the sister of the chemist, as she claims, but she is also as ‘nasty’ as he is nice, and seems all too eager to weigh the Jeffersons ‘on a long hook’ – a metaphor with a potentially ‘gruesome double meaning’ (p. 139) – and to supply them with her own home-made and possibly lethal ‘tonic’ in place of their usual medicine. One member of the Club at the Tea Shoppe has her hair dyed blue as if in token of her fakery, while another has ‘what looked to me like a hundred huge false teeth’ (pp. 140-1), and owns a dog that may well be a wolf. In addition, the members of the Club are somehow linked to the ‘so-called labourers’ working at the church (p. 141). Their motives in tracking down Stephen are unclear, but the unclearness itself is of a piece with the disparity between their semi-respectable, everyday appearances and the obvious malice of their hidden agenda.

Bruce, Mr Atkinson, Old Mim

The whole world through which the Jeffersons move is in fact packed with menacing double meanings and false appearances. This leads Bruce a number of times into mistaking friends as enemies: Old Stanley the poacher, for instance, whom he identifies at first as one of Stephen’s pursuers (p. 63) but later finds to be a useful ally against them; or Lady Ariadne Hodgson, whose deep voice and unfriendly appearance make the children think of her as a ‘witch’ (p. 126), but who makes peace with them by giving them a box of toffees, which she cannot eat herself because of her false teeth (so that she too is revealed as a confusing mixture of the fake and the authentic). Robin and Karen Meddings, too, are transformed into friends from their initial status as diminutive enemies. Yet like Old Stanley and Lady Ariadne, the Meddings kids retain their dual nature as a fusion of the true and the false, the real and the imagined, and their transformation could be said to entail a belated recognition on the part of the Jeffersons that they themselves inhabit a context composed in equal parts of dreams and logic, facts and falsehoods.

The Spinners and Weavers at the Roman mound

The transformation of the Meddingses takes place on the night when Deirdre, the youngest of the Jeffersons, gets imprisoned in the crosshatched space of the Roman mound. Taunted by Deirdre’s captors (the Green Lantern people) and their allies (the old men and women of the Spinners and Weavers Club), the three older Jeffersons find themselves on the verge of surrendering Stephen to his pursuers in exchange for the little girl’s safety. At this precise moment they hear footsteps approaching through the darkness, which make the Spinners and Weavers vanish. Bruce at once seeks a ‘reason’ for the coven’s disappearance, and his sister Julia suggests that the footsteps may belong to that embodiment of authenticity and ordinariness, the housekeeper Old Mim. Instead they belong to the Meddings children, embodiments of middle-class ‘forgery’, who are walking up the hill holding hands in the ‘phony’ way Bruce finds so disgusting, and carrying a gift he thinks irrelevant: ‘a big, and very rusty horse-shoe, all covered with mud’ (p. 169). All three of the older Jeffersons, frantic with worry, unite to shoo these kids away and reject their gift; but they are wrong to do so, as Robin insists. The horseshoe is physical proof that the Old Forge and its inhabitants are not in fact the products of fakeness:

‘It’s one the blacksmith made […] We dug it up in the garden this afternoon, when we were planting a chocolate. In our garden. So ’tisn’t all forgery and that, either! This is proper iron, what a proper blacksmith made.’ (p. 169)

The horseshoe shows that the Old Forge is a ‘proper place where a proper blacksmith made proper iron and things’; the name of the house has a meaning just as authentic as that of the Rectory where the children are staying. And the gift is authentically useful to the Jeffersons. Being made of iron and twisted into the familiar U of the horseshoe, with its age-old connotations of protection and good luck, it proves highly effective in the bewildering nocturnal world in which the siblings find themselves stranded. Andrew Jefferson suddenly has the idea of embedding it in the mound as a kind of padlock, thereby imprisoning Deirdre’s gaolers – who like other members of the fairy community cannot pass cold iron – and enabling Andrew to demand his sister’s release in exchange for their freedom. Like the Meddingses themselves, whose presence drove away the Spinners and Weavers, the Meddingses’ gift subdues the powers of Deirdre’s captors, confirming the younger children’s participation in the Jeffersons’ adventures, despite all of Bruce’s attempts to keep them at arm’s length and to claim that the supernatural events going on all round him have a perfectly rational explanation.

Tending to Stephen

In the process, the enduring presence of magic underneath the Sussex landscape is confirmed – the resistance of its ancient charms to all the rapid changes of recent decades. The disused shelter, the forgotten cellar, the Roman mound, even the gnome-ridden garden of the Old Forge each retain an active link to still potent traces of the past, despite the patina of newness that covers them. Indeed, the shelter and the Old Forge could be described as acts of homage to the past, an acknowledgment of its continuing potency framed in terms of the kitsch and the obsolete. The Forge’s plaster gnomes have an ambiguously ‘real’ equivalent in the living gnomes mentioned at one point by Bruce’s younger sister: ‘Deirdre said she didn’t mind gnomes, but she didn’t like the lantern-men who’d gone over the hills, looking and looking’ (p. 65). And as the supernatural hunters and seekers converge on Stephen’s hiding place in the cellar, ‘looking and looking’, Bruce’s desperate efforts to keep things rational prove increasingly ineffective, until he is forced to enlist the Meddingses in the struggle against Stephen’s enemies. After all, Robin and Karen come from a background that freely accommodates the impossible: gnomes and fairies, magic rituals, the resurgence of the past, the power of cold iron. Their parents are ‘artistic’, despite their affection for warming-pans and horse-brasses: the mother is a TV scriptwriter, the father an actor, and both are therefore adult participants in the same imaginative games enjoyed by the Rectory children (p. 22). And the Meddings children themselves mean well, despite their mannerisms and the intrusiveness of their efforts to win the approval of the Jeffersons.

Meaning, in fact, is a central theme of Gray’s novel; in particular, the way meanings change in different contexts. This theme is pointed up by a stylistic quirk of the first person narrative voice, which is that of Bruce, the oldest of the Jefferson siblings. The Jeffersons could be said to inhabit a crosshatched space of their own, whose function in the narrative shifts repeatedly in response to changing situations, and who therefore provide an ideal vehicle for thinking about the complex process of making meaning in the 1960s. Their surname, as I mentioned earlier, recalls the ‘professional name’ of Gray’s good friend Joan Jefferson Farjeon, which she adopted to underline her descent from a celebrated dynasty of American actors. The Jefferson children, too, are inveterate actors, transforming the cellar they find into a private stage sealed off from the rest of the Rectory by a symbolic curtain. Their days are passed in a blend of the imagined and the real quite as complicated as anything they encounter in the outside world, and for them the cellar embodies that potent mixture, changing its significance with each new game they play, from the heathland of Ancient Britain to a fairy tale forest to King Solomon’s mines, depending on which of them is in charge of their activities. Bruce’s voice as narrator mimics the voice of Oswald Bastable, narrator of Edith Nesbit’s The Treasure Seekers and its sequels. Like Oswald, Bruce is an eldest brother with multiple siblings, though Gray adjusts the number to take account of the diminishing size of the average family in the 1960s. Where Oswald is one of six, Bruce is one of only four – two boys, two girls – and is older than his twin sister Julia by just half an hour, which suggests another adjustment in terms of equality between the sexes (although he draws heavily on his male privilege to assume the role of ‘masterful leader’ on most occasions). The characters of these four children are carefully differentiated: Julia is the aspiring novelist with the novelist’s capacity for imaginative empathy; her younger brother Andrew is a passionate reader of non-fiction and decidedly ‘clever’, though imaginative too, as his trick with the horseshoe shows; while five-year-old Deirdre, saddled with a name from Irish mythology, is inevitably a seer, inclined to imagine ‘too much’, as we learn towards the end of the story (p. 200), and vulnerable as a result to the machinations of the Green Lantern people she alone can visualize with absolute clarity.

Bruce meets a bull

Bruce, meanwhile, is a literalist, or so he claims. He keeps insisting he has no imagination – although he willingly joins in with his siblings’ games – and his ambition to become a doctor underlines his concern with the practical needs of the mind and body. His literalism expresses itself in his prose style, which is full of comic clarifications aimed at removing ambiguity from his declarations, but managing only to draw attention to the sometimes bizarre alternative constructions that could be put on his words. From the beginning to the end of the narrative he works to elucidate his meaning, repeatedly using the phrase ‘I mean’ whenever he thinks a word or phrase may be ambiguous: ‘The cellar ran all about under the Rectory. It hadn’t been used for years. The cellar, I mean’ (p. 7); ‘we dropped it… the book, I mean… and it got trodden in with the cider’ (p. 12); ‘This turned out to control the milking-machine, in some obscure way. The switch, I mean’ (p. 14); ‘We’d found some candle-ends in a tin box down there. In the cellar, I mean. […] I took a box of matches from the bathroom, leaving twopence in its place. Just for a start, that was. The matches, I mean’ (p. 17). In most cases here the clarifying phrase ‘I mean’ serves to point up the chaotic situations the children get themselves into: the book of instructions for making cider getting mixed up with the cider itself, the confusion over the function of the switch for the milking-machine, the complex self-justification rendered necessary by an act of minor theft from the Rectory’s stores. Their activities defy all Bruce’s attempts to reduce them to grammatical and rational order – to bring the uncontrollable, so to speak, under verbal control.

The Jeffersons with their uncle, the Rector

In the same way, the eldest Jefferson is always seeking to find rational explanations for things, assigning new, mundane meanings to them as new evidence emerges, but invariably reaching a point where conventional reasoning fails to account for what’s going on. When strange lights begin to appear in the cellar – Deirdre says they come from the gates of the fairy hill – his reasoning becomes fragmented and frantic: ‘There had to be a reasonable explanation for it all. Otherwise one might be forced to believe in Spoilers, and witches, and suchlike. Which was impossible. So there must be the explanation. The trouble was, I couldn’t think of one’ (p. 105). The bewildering events at the Roman mound challenge his logic still further. As the children make their way home after rescuing Deirdre, Bruce observes that ‘No one said any more about the lantern-men for the time being. To my great relief, as I could think of very little to say that made any sense’ (p. 174). Barred from the belief in the impossible that his three siblings increasingly share, his sense of incomprehension grows until the final chapter, ‘The Gate’, when the entrance to the fairy hill is finally opened in the cellar. Here all three of his siblings are able to see that something magical is taking place, but Bruce cannot, since he has been vouchsafed only transient glimpses of the supernatural throughout the narrative. To the end of the story he continues to insist that ‘It was all imagination’ (p. 197) despite the accumulation of evidence to the contrary. When his brother Andrew tells him ‘The cellar’s full of sunlight’, he can only answer: ‘Well, it wasn’t. Not that I could see’, and add: ‘I felt for a moment that I was going mad, rather than the others’. This from the boy who observed in the opening chapter that he might need to become a ‘brain specialist’ to take account of the imaginative eccentricities of his two youngest siblings, who may both be ‘mad’ (p. 9). In the final chapter, in fact, he recognizes that it may be his own senses that are faulty rather than theirs: ‘If I was really the only one who had seen nothing special, then perhaps I was duller than the rest… which was sad, but quite possible’ (p. 196). In the course of the story the boundaries of the possible have grown permeable, and Bruce’s certainty about his position – as rationalist, as the eldest and as the most ‘masterful’ member of his family (p. 62) – has been shaken to the roots.

Stephen in the cellar

The shaking of Bruce’s rationalism is in fact quite literal; he is constantly getting knocks on the head in the course of his adventures, rendering him temporarily disoriented and subject to visual disturbances. His first encounter with the cellar is a violent one: suspended upside down inside a cupboard, he is pushed by Andrew, falls (presumably on his head) and rolls down ‘about ten steps’ into the hidden room. Later the children set up a booby-trap to deter unwelcome visitors, and Bruce promptly forgets it is there, falling down the stairs a second time and being hit on the head with a broom (again by Andrew) at the bottom (‘Things went rather dim for a while’, he comments wryly, p.99). Later still, in a neighbour’s barn, Bruce bangs his head ‘so hard on a beam that it rang like a bell. My head, I mean’ (p. 149); and when the Spinners and Weavers Club converge on the children by the Roman mound he trips over a hummock and falls flat on his face, which prompts Mr Atkinson to comment: ‘Poor little boy […] it’s bumped its poor head, and now it’s all muddled’ (p. 165). This adds to Bruce’s difficulties in distinguishing between the real and the illusory: ‘My head was spinning. I suppose I’d banged it just once too often that night. Even now I can’t be quite sure how much of all this really happened, and how much I imagined. I may have been dreaming, though I was not asleep’ (p. 165). In response to all these knocks, the inside of Bruce’s head becomes a crosshatched space, its contents muddled to the extent that memories can no longer be disentangled from waking dreams.

At the same time, the distinction between the imagined and the real, the dreamed and the remembered, keeps getting blurred even outside Bruce’s head as the book goes on. For one thing, the children’s games keep turning real. Deirdre is constantly telling adults about their clandestine adventures, and although she is never believed – her stories are variously described as ‘horrible inventions’ (p. 160) and wild ‘fantasies’ (p. 175) – her elder siblings are always on tenterhooks in case she lets slip something too believable about the all-too-material runaway Stephen. At one point, seeking to distract their enemies’ attention from the cellar where Stephen is hiding, the children pack a suitcase full of fake medical supplies and set out across country, drawing the two fake labourers after them towards a neighbouring farm. Here the classic children’s game of doctors and nurses becomes a component part of a genuine crisis: the Jeffersons are in fact genuinely tending to a sick fugitive, and only the location of the man and the supplies they carry are illusions. The Roman mound is the focus of a real adventure when Deirdre is trapped underneath it, but it’s also a reminder of the games the children played in the cellar earlier, which involved Romans and Britons, with Bruce inevitably playing a rational Roman while Julia stood in for the impetuous British queen, Boadicea. Not long afterwards the stuff of games is repurposed again as the children prepare to repel Stephen’s massed ‘enemies’ from the cellar. The dustbin-lids and rusty scythe-blades they used as Roman and British weapons in Chapter 2 get recalled and reused in Chapter 13, when Bruce describes them as ‘the weapons of happier days’ and adds forlornly, ‘We didn’t really think they would be much use’ (p. 192). The horseshoe brought to them by the Meddings children changes from an element in a game – Robin and Karen were burying a chocolate when they found it – into a key part of Deirdre’s rescue from the mound. Later the Jeffersons recall the power of cold iron when pondering ways to protect the Rectory, placing iron objects in all the windows and doors to repel the Lantern people. Repeatedly, objects and concepts that were first given new meaning by their involvement in imagined scenarios acquire a serious, even urgent function in the decidedly unplayful context of the hunt for and defence of the fugitive.

Bruce and Julia Jefferson face the police

As the process of ‘realising’ the imaginary goes on, both of the older Jefferson siblings, Bruce and Julia, feel increasingly stressed by the mounting complexity of the situation. This is one of the ways Gray’s novel differs from some analogous work by his contemporaries, such as Alan Garner’s debut novel The Weirdstone of Brisingamen (1960), which was published the year before. In that book, the child protagonists Colin and Susan are left more or less unscathed by their adventures. The svart alfar or Dark Elves, the terrible journey through the mines, even the death of their friend, the dwarf Durathror, at the hands of the Morrigan – none of these incidents seems to have got much emotional purchase on their psychologies (though the psychological effects of mixing with magic get much more intense in Garner’s later novels). Down in the Cellar, by contrast, leaves one with the sense that Bruce’s mental health, and that of his twin sister, is genuinely suffering as they struggle to manage a state of affairs that would have challenged the psychological equilibrium of any adult. Bruce’s fierce diatribe against the Meddings children is a symptom of this mental stress, which reaches its climax when he bursts into tears under interrogation by the Chief Constable, Mr Wheatley, who has come in person to lead the search for the missing man. ‘Everyone was amazed,’ Bruce says at this point, ‘including me. But I couldn’t help it, it just happened’; and in response, the police and his family members ‘stared at me in horror, while I stood with my mouth open, and tears running into it, hiccupping and sobbing for breath’ (p. 186). Yet Bruce’s siblings mistake this torrent of emotion for a cunning ruse, another bit of playacting designed to disrupt Mr Wheatley’s investigations. Afterwards Andrew asks admiringly, ‘How on earth did you do it? They were real tears!’, and Julia admits ‘I didn’t honestly think Bruce had it in him’; while Bruce himself decides to say no more about ‘the reasons for my break-down’ (p. 187). One good reason for this reticence, perhaps, is that his breakdown springs from the breakdown of reason itself; first, in that his own reasons for protecting the fugitive may not stand up to police scrutiny, and secondly because the events since Stephen entered their lives have been so confusing. Bruce’s outburst is allowed to stand for what his siblings think it: another game that has suddenly been saddled with a serious purpose.

The opening of the gate into the hill

One could read Gray’s novel as what’s glibly called a ‘coming-of-age’ story, as if children grew to adulthood at some definable moment in their lives, or as if maturity itself were something stable. The book suggests instead that the process is complicated, since responsibility emerges from within the context of childhood play, while play and serious adult concerns have the same ingredients. But there’s something else that might be read into Gray’s narrative of transition. Bruce’s isolation at the end, as the only unimaginative Jefferson, is intensified by the fact that he alone of the four siblings is blessed or cursed with the ability to remember Stephen and all they went through to hide and defend him. The three younger children are asked to forget the strange young man by the Lady of the Hill, as she leads him away through the hidden gates to her underground kingdom. The least imaginative Jefferson, Bruce, is left with a memory of Stephen’s face, now indistinguishable from a private dream since none of his siblings shares it. By the final page of the novel the two youngest children have already switched their attention to other things: Deirdre declares that when she gets older she may marry Robin, the older Meddings child, while Andrew adds: ‘Come to that, I may decide to marry Karen’ (p. 203). Bruce, by contrast, recalls specific details of Stephen’s appearance: ‘I remembered Uncle’s old dressing-gown that Stephen had taken with him. And the heap of chalk-stained clothes he’d left behind’ (p. 203). For Bruce, in fact, Stephen himself is always physically interesting, indeed attractive, as well as mysterious. When he first sees the fugitive he describes him as ‘a handsome sort of person, though unshaven and grimy, and all smeared with chalk’ (p. 35). Later on, when tending to him in the cellar, Bruce thinks that Stephen may be complimenting him on his own appearance: ‘How kind you are, and how beautiful’, the sick man murmurs (p. 109), and the startled Stephen thinks to himself, ‘I hoped I was fairly kind, but no one would describe me as more than average good-looking’. On another occasion Bruce is struck for a second time by the stranger’s good looks; now he has grown a beard, he observes, ‘He looked like an actor in Shakespeare or something. Actually, it suited him. It was rather romantic. As he was asleep and couldn’t hear, I said this to Andrew. And he agreed’ (p. 180). Bruce seeks reassurance from his brother that his perception of Stephen’s appearance is accurate, and duly records that his brother agrees, as if to exonerate himself from the charge of paying too much attention to what a man looks like. Then towards the end, when the Hill-Lady finally comes to take Stephen to safety, Bruce is still more impressed by the young man’s beauty: ‘He was much handsomer than anyone we’d imagined from stories’ (p. 200). Stephen, in other words, has drifted in Bruce’s mind from being a figure out of fiction, to the author or actor of fictions, to a real, live human being, whose face is better than anything he could have conjured up in his childhood imaginings. It’s for this reason, perhaps, that the young man’s departure has such an acute effect on Gray’s narrator. As Stephen limps out of the underground room where the siblings have tended him, ‘A sort of grief came over me in a wave’, Bruce tells us (p. 200), and Stephen stops and looks at him as if in response. What Stephen says at this point is an observation that might well have come from a man addressing a young male admirer on parting, at a time in history when same-sex desire was effectively outlawed. ‘You mustn’t mind, Bruce,’ he tells him; ‘It’s not easy to see a thing through, when you aren’t sure what it is you’re seeing’. In the 50s and early 60s same-sex desire might well be something a growing child could not be certain he was seeing or feeling, a state of mind that was wholly unacknowledged in his education or family life. As he passes from the cellar into the hill, Stephen leaves Bruce with a story he can never tell in full, at least with any expectation of understanding, a story he does not fully understand himself, and part of that story may well be what first attracted him to Stephen. Gray’s fairy tale, in other words – like the fairy tales of Oscar Wilde and Hans Christian Andersen, four of which provided themes for plays by Gray – could stand in for the experience of first discovering yourself to be gay in early adolescence.

Gray’s other fiction lends support to this reading. His first short story collection, for instance – Mainly in Moonlight (1965) – is full of stories of young men who are rejected by their communities and find a new place for themselves in an all-male household. The first story, ‘The Sorcerer’s Apprentices’, involves a boy called Martin rescuing another boy called Avenel and bringing him back to live with him in the house of his male teacher, Alain. ‘The Hunting of the Dragon’ involves another rescue of a boy by another boy, after which the rescuer, Prince Michael, feels comfortable with his own identity for the first time in his life. ‘According to Tradition’ tells of a pair of princely brothers the younger of whom ends up as the married king of his country, while the elder chooses to defy tradition and go live with the fairies – led by a handsome witch-king – because he ‘could never be at home’ living by the conventions of ‘mortal men’ (p. 104). ‘The Lady’s Quest’ tells of a prince who hates the convention that only men are allowed to embark on dangerous quests. His sister Alexa tells him that ‘you would make a better girl than I do’, he tells one of his father’s soldiers that his men are ‘lovely’ (p. 119), and his best friend Gregory is ‘not quite at home in the company of ladies’ (p. 125). The story culminates with the two young men being rescued by Alexa, and though Gray hints that both have become fascinated by the women they have met in the course of their adventures, there is no indication that either boy intends to do more with this new interest than learn at last ‘to be at ease in the company of ladies’ (p. 129). Very few of Gray’s fairy tales end in marriage; many are about young men who feel deeply out of place in the world they were born into. In one of the most poignant stories, ‘The Star Beast’, an intelligent creature of uncertain gender from another world – its hands are ‘slender, long-fingered, with the fine nails of a girl’, its body ‘like that of a boy – a half-grown lad – though it was as tall as a man’ (p. 71) – is mistreated until it starts to behave like what it has been called by all the people it meets: an abused animal. Both Bruce and Stephen of Down in the Cellar fit easily into this collection of displaced boys and men.

The novel ends with Bruce hearing a sound in the cellar that reminds him of some lines from the Scottish Border Ballad Tam Lin: ‘About the mid-hour of the night / They heard the bridles ring’ (p. 203). The sound, so clearly out of place under the Rectory, offers one final confirmation that it was indeed the ‘Hill-Lady’ who took Stephen into the hill before erasing all memory of him from those who saw him, apart from Bruce. The displacement of the ballad from Scotland to the Sussex Downs, alongside the displacement of the sound from the open air to an enclosed cellar, emphasizes the theme of displacement that runs through the novel; and this displacement is invoked by a number of references to Scotland throughout – from Bruce’s name, which invokes the Scottish hero Robert the Bruce, or Andrew’s, which he shares with Scotland’s patron saint (Deirdre’s name, by contrast, is Irish), to Julie’s observation to the police that the fugitive ‘is probably in the north of Scotland by this time’ (p. 78). The children themselves are displaced, in that they are outsiders from London in a Sussex village, while their parents are on the other side of the planet, in New Zealand. Stephen comes from an unnamed country where a different language is spoken; he can clearly never go back there, and as the novel goes on it becomes clear that there is also no place for him in England. For most of his life Gray was a Scot in England, and the cultural crosshatching he practises in Down in the Cellar, as well as the sense of alienation that fills it, may well have been deeply familiar to him.

As a version of Tam Lin, Gray’s novel does not run ‘According to Tradition’ any more than his other fairy tales tend to. The handsome Tam Lin had to be rescued from the fairy queen to save him from the fate of serving as a human sacrifice to Hell – the famous fairy ‘teind’. The rescue involved great courage on the part of his earthly lover, Janet, who clung to him as he changed shape into a variety of wild animals, as well as a burning coal and a naked man, never letting go until the spell that bound him was finally broken. One of the stories in Mainly in Moonlight, ‘A Letter to My Love’, culminates in an ordeal very like Janet’s, where a young woman clings to the body of a man in need of rescue as it changes from lizard to woodlouse, from slug to lump of ice (pp. 68-69). Stephen, by contrast, must be given over to the Hill-Lady if he is to survive. ‘Poor Bruce’ must let go of him instead of clinging on, give him up instead of winning him, and can expect ‘no sort of reward’ for all his struggles on the stranger’s behalf, all the mental and physical pain he has undergone for him. Tam Lin in all its versions is about a difficult romance, from Diana Wynne Jones’s Fire and Hemlock (1984) to Pamela Dean’s Tam Lin (1991) and Sally Prue’s Cold Tom (2002). Romance is the lifeblood of the story, and Bruce’s sense of loss at the close of the novel – the ‘sort of grief’ that ‘came over me in a wave’ (p. 200)– suggests an emerging awareness that he is being bereaved of the romance that he identified with Stephen from the moment of his discovery in a disused cave.

Among other things, Down in the Cellar is a story about finding that the mind is a strange and complex organ, and about how words, places, communities and relationships participate in its complexity. In it, the imaginative and the rational exist in partnership, memory and fantasy cohabit, new desires transform the world, the body affects the mind and the mind the body, while the lightness of games is always giving way to the heavy weight of responsibility, which in turn reveals an unsuspected affinity with childhood play. It’s a fine example of the way fantasy for children responds to the particular challenges of political and social history. And it’s an argument in itself, I think, for reprinting Gray’s fiction for children.

Note

[1] Gray’s other illustrators included Joan Jefferson Farjeon, Charles W Stewart (who also worked in theatre design), Charles Keeping and himself.

Imperialist Fantasy: Clifford Mills, Where the Rainbow Ends (1912)

This blog is called The City of Lost Books, and has concentrated on quite a few little-known texts in recent months: the fantastic novels of Margaret Irwin; the only novel by the modernist art critic Herbert Read; William Morris’s brilliant last romance The Water of the Wondrous Isles. Few books, however, can have been more justly neglected than Clifford Mills’s Where the Rainbow Ends (1912), and few books can have been more popular before they fell into oblivion. Based on a ‘fairy play’ co-written by Clifford Mills and John Reginald Owen (writing as John Ramsey) and first produced in 1911 with music by Roger Quilter, the book was a bestseller from its publication in 1912 to the 1950s. For forty years or so the play was as much a staple of Christmas in Britain as J. M. Barrie’s Peter Pan (1904), on which it was partly based. Princess Elizabeth went to see it at Christmas in 1937, when she was eleven. Being a blatant piece of British imperialist propaganda, however, it didn’t survive the sixties, and had more or less vanished from sight by the time I read the book version at the age of seven or eight, in my grandmother’s Salford flat in 1970.[1]

The book made a huge impression on me, not least because it made me profoundly uncomfortable. This was not because of its imperialist, militaristic propaganda – I was rather enthusiastic about things military at the age of seven – but because of its penchant for sadistic violence. Mills’s delight in subjecting her child protagonists to extreme mental and physical torments was obvious to me, and the deaths of her villains were unusually gruesome. Most dreadful of all, there was a boy in it who expressed his willingness to be transformed into a monster, in an episode that haunted my nightmares for several years. Another book I read at my grandmother’s flat was the Penguin translation of Homer’s Odyssey, its cover carefully protected with a transparent plastic dustjacket, and although that story too had people being magicked into beasts they didn’t consent to their transformation, and were in any case restored to human shape soon afterwards by the wily Odysseus. Mills’s doomed boy, by contrast, actively chooses his metamorphosis, and remains stubbornly committed to becoming a monster on the last occasion we see him. Through him Where the Rainbow Ends introduced me to a kind of fantasy I hadn’t encountered anywhere else, in which children’s behaviour could be as horribly punished as the wickedness of adults, and the bed you made for yourself was very much the one you lay in. Again, children had been punished with transformation in other books I knew, most notably Eustace in The Voyage of the Dawn Treader, who became a dragon because he refused to fit in. But Eustace learned his lesson in the process, whereas the boy in Where the Rainbow Ends learned nothing at all. This couldn’t happen, I thought, in books for children, and I dwelt on it with morbid fascination when Clifford Mills showed me that it could.

One of the things I liked about the book was that it did a good job of representing the pain of being separated from one’s family. The story begins with two middle-class English children who have lost their parents in a shipwreck six months before, and who are now being looked after by an abusive aunt and uncle, aided and abetted by a houseful of nasty servants, formerly the servants of the children’s beloved Cousin Matthew, also recently deceased. The children, Rosamond and Crispian, have been separated from their parents for several years – two in the case of Rosamond, four in Crispian’s – because the parents stayed behind in India when the children went to boarding school in England; it was on the journey from India to England that their Mother and Father were drowned. I can’t remember if I had yet gone to boarding school when I was staying at my Grandmother’s, but I certainly started a few weeks after turning seven, and the idea of long-term separation from one’s parents would have been familiar to me in any case from the fact that my older brother started there a year before I did. The British Empire, it seems, was built on the principle of separating children from their parents, and trained the children in question to respond by cultivating a sense of plucky independence underpinned by strict adherence to certain rules.

One such rule was the hackneyed notion that boys don’t cry, and Mills’s novel begins with Crispian breaking this rule, as I myself had done on many occasions. I appreciated this touch of honesty on the part of the author, though not the response of Crispian’s sister: Rosamond overhears him sobbing for their mother, and forces herself not to intervene for fear of shaming him (‘Boys’ tears, she told herself, were not to be seen – except by Mothers – sometimes’, p. 10).[2] Suddenly, however, she thinks of a way to cheer him up, which is by consulting a book Cousin Matthew used to read to them at bedtime. This is the ‘Rainbow Book’, and it is introduced into Mills’s story in the very first sentence: ‘Rosamond had suddenly remembered the “Rainbow Book”, and this is how it happened’ (p. 9). That sentence involves a double act of magic, first in adopting a tone which implies that everyone knows about the ‘Rainbow Book’, and secondly in giving that book the same title as the book we’re reading. The ‘Rainbow Book’ is Where the Rainbow Ends, and mentions a land where all lost loved ones can be found again; it also includes detailed instructions on how to get there. This made me think that perhaps the book by Clifford Mills called Where the Rainbow Ends might contain similar instructions; that it might in fact be some kind of guidebook. The title retains something of the glamour of this promise for me even now. And of course the book is meant as a guidebook, giving clear instructions on how to attain the pluck of its central characters, although one is unlikely to get much chance to show that pluck in a similar context.

One way of achieving pluck, Mills suggests, is to harbour suitable ambitions. In the case of middle-class boys like Crispian, the best ambition is to join the Navy and become an Admiral; in the case of girls like Rosamond it is to get married. Crispian’s ambition sets him apart from the wayward boys in Peter Pan who want to be pirates (remember how John is gently mocked for his imperialist sentiments?); he is clearly meant to be exactly the sort of material the British forces need as naval cadets and future officers. Rosamond, on the other hand, is pretty much like Wendy, but with an added spirit of adventure which makes her the motivating force behind all the book’s important moments. Not only is she the one who remembers the existence of the book called Where the Rainbow Ends, but she also decides to go and find the land described in it, then inspires her brother to come along as back-up. She later locates the magic carpet of Faith which will take them on their journey; and summoning the genie of the carpet is simple for her, since she has read The Arabian Nights. So is giving him instructions (though perhaps she has learned this from having had servants all her life); and when he offers each of the children two wishes, as genies do, she uses hers with impressive effectiveness. The first wish makes her Uncle and Aunt start their dinner all over again so that she and Crispian will have time to prepare for their travels. Her second wish summons Saint George to act as the children’s bodyguard on their adventure. Much later on, Rosamond thinks nothing of plunging into the Dragon Wood by herself to rescue a younger girl; and later still she is the one who thinks of the way to defeat the Dragon army, sewing the flag that will claim their Castle for England and summon Saint George (who has the unfortunate trait of being unable to appear anywhere except where the cross of Saint George is flying). This, then, is one of the book’s few redeeming features: it has a resourceful and active heroine, which makes it an excellent counterbalance gender-wise for Peter and Wendy, where most of the physical action is given over to Peter and Captain Hook. Along with C. S. Lewis’s The Lion, the Witch and the Wardrobe and a few others, it’s one of the books that trained me as a child to accept a girl as principal protagonist, something my male friends and some of the books I read had a tendency to drum out of me.

I’ve mentioned the play Peter Pan a couple of times, as well as the novel that followed, Peter and Wendy, which was first published in 1911, the year before the novelization of Where the Rainbow Ends. The fact that the second novel followed so closely on the first is probably not a coincidence, since Mills’s play had followed the pattern of Peter Pan from the beginning, above all in its efforts to accommodate special effects and character types of the sort that Barrie’s play had made hugely popular with spectators of all ages. Peter Pan involves flying, of course, and Crispian, Rosamond and their two companions – Crispian’s school friend Jim Blunders and his little sister Betty, whom Crispian summons with his own two wishes – not only get to fly on Faith’s magic carpet but are later carried off to captivity (like Dorothy and Toto in The Wizard of Oz) by the winged henchmen of the principal villain. Peter Pan has a cheeky, wayward flying boy in a leading role, and his place is taken in Where the Rainbow Ends by the fairy Will o’the Wisp, who is in love with the Lake King’s Daughter and dances very nicely with her, but whose most important function is to inform the children’s parents that Rosamond and Crispian are on their way to rescue them. Peter Pan has pirates, where Mills’s play has dragons. Peter Pan has incompetent adults – Mr Darling and his dark double, James Hook – while Where the Rainbow’s End has villains who are both incompetent and sadistic, Uncle Joseph and Aunt Matilda, neither of whom have Captain Hook’s redeeming qualities. The villains in both get eaten (more on that later). Peter Pan contains a dog called Nana, always played by a human actor; Where the Rainbow Ends has a lion cub called Cubby, also played by a human, who seems to subsist on a kind of tonic called Colonial Mixture, composed in ‘Equal parts of Canadian, Australian and New Zealand Iron mixed with Indian and South African Steel’ (p. 19). The small print on the label also says that the tonic is ‘Poison to Traitors’ (p. 205), which means that when Uncle Joseph drinks it the effect is much like the effect on Tinkerbell of drinking Peter’s medicine in Barrie’s play. In other words, it’s fatal, and in Mills’s play there is no one to clap their hands and bring him back to life. So the play goes one better than Peter Pan in every department by ensuring that there are no ambiguities at all; the heroes are totally heroic, the villains utterly villainous (indeed it’s implied that the Dragon King is the devil himself), and the destruction of the villains is correspondingly spectacular and hideous. These differences help to point up the relative complexity of Barrie’s play, whose purported hero, Peter, is pompous and merciless, its villain conflicted, and their respective fates (from an adult’s point of view, at least) more or less equally painful.

What Mills’s play has which has no equivalent in Peter Pan is the patron saint of England, a certain Saint George, whose presence in it for forty years provided a role for the current male heart-throb of the English stage. Saint George has something of Aragorn’s modesty about him; when Rosamond wishes for him he first appears in the garb of a pilgrim, evoking that much-loved Christian romance The Pilgrim’s Progress, and informs the children he is rather out of fashion these days, having stopped fighting with Saint Denis of France some time ago and taken to galloping around instead ‘with my true brothers [the patron saints of] Scotland, Ireland, Wales and kindred kind beyond the seas’ (p. 71), doing deeds of valour for the needy colonies. Meanwhile he has been neglected at home, and is inclined to blame this on the honorific people have saddled him with, ‘Saint’, since ‘a halo is such a misty unsoldierly decoration’ (p. 72). Rosamond and the other children, however, find him ‘ripping’ (p. 67), and he wins their hearts by telling them the story of the Battle of Agincourt, a victory over the French which was actually sponsored by his friend Saint Crispian (Crispian’s namesake), but which Saint George observed from the sidelines with great interest. Saint George’s connection with Agincourt aligns him, of course, with Shakespeare’s King Henry V, who was given to yelling the names of Saint George and Saints Crispin and Crispian as he charged across the bloody fields of France. Mills has him talk Shakespearean English, too; he is constantly breaking into the rhythms of blank verse. ‘Dear English maid,’ he tells Rosamond as he prepares to leave in a flash of lightning (I don’t remember any lightning in Peter Pan!), ‘No foe of yours that is not foe of mine. No dangers yours that are not shared by me. No wrong of yours that I will not redress’ (p. 74). Heady stuff, when addressed to a girl of eleven or twelve, and guaranteed to supply her with a substantial dose of extra pluck. I found it thrilling, too, at the age of seven, though I don’t remember being filled with anything much like patriotism by Saint George’s flashy appearances and disappearances. I thought of him as a superhero, as no doubt did the many generations of boys who thrilled to the adventures of the patron saints in Richard Johnson’s perennial nursery classic, The Seven Champions of Christendom (1597).

Unfortunately, reviving Saint George and his red cross flag has had a tendency, historically speaking, to involve large doses of racism; and Mills’s novel is not exempt. Not for nothing does Saint George change Henry V’s battle cry from ‘God for Harry, England and Saint George’ to ‘God for George, England and the Right’ (p. 74). The genie, for instance, is ‘of Ethiopian darkness, but not at all repulsive looking’ (p. 51), while a French merchant called Bertrand who offers to buy the defunct Cousin Matthews’s effects is said to have a shrewd eye for a bargain because ‘his great-great-grandmother had been a Jewess’ (p. 79). Despite these racist throwaway remarks both the merchant and the genie are clearly meant to be attractive figures, though the genie’s principal charm is his obedience (he is the children’s ‘faithful friend’, p. 94), which is particularly unsettling when he refers to himself as a ‘slave’ (p. 51). Bertrand, on the other hand, is both gallant and courageous, and has nothing but contempt for the treachery to family and nation shown by Uncle Joseph and Aunt Matilda. His function in the play, in fact, is to point up their nastiness, since even his foreignness and suspect ancestry cannot blind him to their perfidy. The presence in the novel of these two characters amply confirms Mills’s quasi-fascistic views, as does her assumption that England’s glory depends exclusively on its military victories, ‘Crecy and Poictiers, […] Waterloo and Trafalgar’ (p. 224), and her certainty that the pirate-poet Sir Walter Raleigh was the ‘pattern of chivalry’ (p. 49) because he only sank Spanish ships. Her views on class are equally repugnant. The sole working-class character in the book, the page boy William, is an insufferable sneak who delights in taunting Crispian and Rosamond on their penniless state since the death of their parents. Sometimes it’s worth reminding oneself of fantasy’s potential to sow the seeds of fascism, and of how enthusiastically the British were capable of embracing fascistic ideas well before the rise of Nazism.

The literary virtues of Where the Rainbow Ends are of a piece with its moral and ideological vices. Foremost among these is its capacity for building dramatic tension in each of its three constituent parts. The first ‘act’ of the novel sees the children informed by their wicked Uncle and Aunt that their schooldays are over for lack of funds and that their beloved Cousin Matthew’s library will be sold to pay their bills, and with it the guidebook to ‘Where the Rainbow Ends’ as well as the magic carpet that might have taken them there. It is then a race against time to use the carpet before Uncle Joseph, Aunt Matilda and the page boy William can hold them back. The second ‘act’ sees them confronting the dangers of Dragon Wood, their chief obstacle here being their friend little Betty Blunders, who is clearly designed to embody all the female failings Mills has banished from the lively personage of her heroine, Rosamond. Betty ignores the advice of the guidebook by entering Dragon Wood at nightfall in pursuit of the alluring Will o’the Wisp, just at the point when the monsters and beasts are waking up. Although she is quickly rescued by the boys, the presence of those beasts and monsters ensures that the rest of the night – and of the book’s second ‘act’ – is as full of terrors as a night can be. The third ‘act’ begins with the capture of the children by flying dragons and their incarceration in the Dragon King’s Castle, where they are due to be executed at any moment. Escape involves the rapid sewing of an English flag by Rosamond – who has had the good sense to bring along her sewing kit – and its hoisting by the boys on the Castle flagpole, a deed that brings Saint George to the rescue in the usual flash of lightning, with predictable results. The Dragon King is transfixed by the Saint’s doughty blade, and the rest of the dragons are hurled howling into a bottomless abyss, like Milton’s fallen angels. Fortunately at this point in the story not a single dragon seems to remember that it can fly, so they all perish. The way is therefore cleared for the children to press on to the place Where the Rainbow Ends, where Rosamond and Crispian’s parents are waiting, having survived their shipwreck after all. The children find their way to the correct location without any difficulty, despite having dropped their precious guidebook in the lake when the Dragons seized them. Their reunion with their parents is suitably moving, and caused seven-year-old me to break the injunction not to cry every time I read it.

Another redeeming feature of the novel (if it has any) is its clear sense that the British Empire is in steep decline. Saint George no longer lives on English soil, but spends his time overseas because the Colonies are more interested in him than his countrymen are. The older generation of English patriots are similarly located elsewhere, unable to make their way back from distant parts to their homeland; Rosamond’s parents Captain and Mrs Carey spend the whole novel loitering in ragged clothes on a distant shore, like Prospero and Miranda on their desert island, persecuted by a witch out of Macbeth and a fairy out of A Midsummer Night’s Dream (the unreliable Will o’the Wisp) as well as the constant threat of dragonish assaults straight out of Milton. Mrs Carey has even become a legend or fantasy herself, being referred to by Will as Mother Vera – Mother Truth – which effectively makes her Mother Carey, a sailor’s legend who is referred to by (among others) Charles Kingsley in The Water Babies (1862-3) and John Masefield in Salt Water Ballads (1902). England, then, is always elsewhere in this novel, a little like Narnia in the Narnian Chronicles, and its identity is always under threat of erasure. Captain and Mrs Carey have been replaced in the household by Uncle Joseph and Aunt Matilda, who regard the English flag as ‘That Jingo bogey – that pretty bit of bunting – that child’s plaything’ (p. 119), and whose only concern is to cheat their nephew and niece out of their inheritance. Meanwhile the heraldic Lion of England is represented in this novel by a half-grown lion cub, Cubby, and the next generation of English human beings (as embodied in the page boy William and the indolent youth known only as the Slacker) threatens to follow the children’s uncle and aunt into self-obsession and indifference to the national interest.

The most striking representation of this tendency can be found in the Dragon Wood, a place where everything that is inimical to imperial orderliness resides. It is full of foreign beasts, a category from which Cubby is excluded despite being a lion (he is a specifically English lion, we are told (p. 18)). There is a black leopard which injures Crispian and Blunders, a pack of hyenas whose voices Crispian remembers from his time in India, and miscellaneous other carnivores. The Wood has supernatural creatures in it, too, including Will o’the Wisp, who is always ‘mislead[ing] night wanderers, laughing at their harm’, like Shakespeare’s Puck, and a bunch of nastier elves and gnomes who are given to pinching errant strangers black and blue like the false fairies in The Merry Wives of Windsor. Worse still, it is a place of metamorphosis, where a person’s identity is constantly on the verge of getting compromised. One of the trees in it was once a ‘high-born Dragon’ who dared to eat the Dragon King’s food and was punished for this by being transformed into a stump with arms, which is constantly hungry for the flesh of passers by. Another monster is the thing that gave me nightmares:

Out of the reeds a loathsome creature, half man, half worm was crawling, slowly dragging its flabby useless limbs along the ground. Its face was ashen, its worm-shaped head hairless. It had a great, gaping, loose-lipped mouth and its eyes, that were for ever turning restlessly from side to side, shone like arc lamps. Lamps they were indeed, that warned others of the deadly trail of slime it left as it crawled – slime that clogged the feet of those who encountered it [–] but to the creature itself they gave no light, for it was blind. Slowly it dragged itself from the marsh and entered the thicket while the boys stood transfixed with horror. (p. 171)

Crispian recognizes this creature, too – he calls it ‘a Slitherslime’ – and there is a dreadful revelation to come about it. After its disappearance into a thicket the two naval cadets meet another boy who seems to live in the Dragon Wood, unharmed by its monstrous denizens. The boy is English, and like Crispian and Blunders once set off to find a lost loved one – his sister – in the place Where the Rainbow Ends; but he got distracted by the pleasures of the Woods, where one can get endless supplies of tasty fruit, spend one’s time fishing in well-stocked trout streams, and watch the gnomes playing cricket (p. 177). Now he lives there in permanent indolence, protected by the toll he pays the Dragon King, which involves passing on to him unopened all the letters he gets from his mother (delivered by passing pilgrims on their way to Heart’s Content), and wearing on his breast the Dragon King’s crest in place of the cross of Saint George.

Worst of all, he is degenerating physically. Already ‘round-shouldered and walk[ing] with a slouch’, he has a ‘livid’ face (p. 172), and the end of this degenerative process, he tells Blunders, is to become the slug-like creature they have just encountered, which helpfully reappears to underline the horror of this fate just as the boy makes reference to it: ‘For a moment in hideous helplessness it turned its restless worm-like head with the blazing, sightless eyes towards the boys, then, with a horrible whimper of distress it slithered off into the marshes’ (p. 180). Horrified by this vision, Blunders automatically repeats Nelson’s famous slogan from the Battle of Trafalgar – ‘England expects every man to do his duty’ (p. 182) – and at once the Dragon Light that protects the indolent youth begins to grow dim. The boy promptly swears to stay in the Wood for ever, the Dragon Light rekindles, and away he flees through the trees ‘laughing and crying hysterically’ (p. 183), never to be seen again.

The curious thing about this episode is that it sets up an indolent version of England as the antithesis of the cadets’ beloved imperial power. The indolent youth – known as the Slacker – introduces himself as an English subject, enjoys peculiarly English pursuits such as fishing and cricket, and offers the cadets fruit that look ‘just like ordinary English apples’ (p. 179). The decay of England lurks in the inner spaces of English national identity, like a maggot in a healthy core, just as the Slacker’s sluggish future form is foreshadowed in the round-shouldered debility of his body; only a subtle shift of emphasis in one’s clichéd fantasies of the ideal English existence is needed for England to become a breeding ground of the Dragon’s minions. If being English is a fantasy, as its association here with Shakespeare’s plays, Bunyan’s Pilgrim’s Progress and Milton’s Paradise Lost suggests, then an alternative fantasy could easily supplant it, and this play is filled with alternative fantasies, many of them derived from the very same sources that supplied material for the fantasies of imperial England.

The nastiest of these fantasies by far are those of Uncle Joseph and Aunt Matilda, which are both greedy and sadistic. At the beginning of the novel Aunt Matilda wears a ‘cruel smile’ as she tells Crispian he can no longer go to the naval college he has been attending, then forbids him to wear his cadet’s uniform the following day: ‘Aunt Matilda knew that this would hurt Cris. She knew that a naval boy loves his uniform, not so much for the look of it but because it is a uniform of noble traditions and a thing to live up to and be proud of and it did hurt Cris horribly to be told in that cold and heartless fashion not to wear it again’ (p. 30). Uncle Joseph is even worse. When he finds the children gone from his house on a quest to find their parents – which would deprive him of the family home he has feloniously inherited with the help of his expertise as a lawyer – he chases after them armed with a whip which he plans to use to ‘tickle them with for running away’, after tying their hands and feet with rope and gagging their ‘pretty mouths’ (pp. 122-3). Fortunately Saint George removes the whip from him before he can use it, but Uncle Joseph later succeeds in catching Rosamond, whereupon he ties her to the Enchanted Tree, gags her, and leaves her alone in the Dragon Wood to be eaten by hyenas. As he abandons her to her fate he can’t resist a final gloat: ‘“What a pity, isn’t it?” he said […] “Brother Crispian is in the wood and you can’t call to him to come and rescue you, and I’m afraid when he does pass this way you won’t be here, hyenas are so fond of little children”’ (p. 193). Later still the hyenas come after Uncle Joseph and Aunt Matilda instead, and the lawyer climbs a tree to escape their jaws, leaving his sister on the ground in her impractical evening gown to be devoured with ‘piercing […] shrieks’ (p. 202) – though fortunately off stage, both in the play and in the novel. He doesn’t escape his own fate long, however. Overcome with hunger he finds Cubby’s bottle of Colonial Mixture in his pocket and proceeds to drink the contents, having failed to read the small print on the label (‘Poison to Traitors’). He has no time to feel much more than the first pangs of this poison before the hyenas come back for him, having made short work of his sister’s bony body. Like the Slacker he is destroyed by what he consumes to sustain him, trapped into the very fate he sacrificed his family ties to evade.

Set up in opposition to Uncle Andrew’s fantasies of selfishness, torture and material gain, the fantasy of England restored to imperial glory is all about emotional reunions with lost relatives; as I said before, the final scene of the novel had a tendency to reduce my seven-year-old self to a tearstained wreck. There’s something disturbing, though, about this final vision, as well as about the story that leads up to it. This ending asserts that not only can the British Empire be buttressed by affectionate young patriots, but that death itself can be overcome; and this not in the form of a life to come but through resurrection in this world – or so it seems. The scene begins with a reunion between a nameless English mother and her lost ‘little one’ on the beach Where the Rainbow Ends. Carried to the blessed location by an English ship, then ferried ashore by the boast of ‘faith and Hope’, the woman suddenly sees her infant rushing towards her:

and, seeing the little one, sinks to her knees and with eyes that almost fear to believe looks into the little face she has for so long seen only in her dreams. Scarce daring to breathe, her yearning fingers glide over the golden curls to the white brow upon which they cluster. Wistfully her hungry gaze meets again the laughing look of dear blue eyes; she longs, yet fears to kiss the smiling roguish baby lips raised to hers, lest, as in those cruel dreams which so long have mocked her grief, she will wake to find her poor arms empty.

But upon the child’s face is no sorrow, no surprise. Closer it nestles into the dear, remembered arms.

‘Mummy,’ the little one coaxes, ‘Mummy darling – now – tell again the story of little ten toes.’ (p. 248)

The reunion is clearly not meant to be subjected to rigorous theological analysis, but the implication is, I think, that the mother in this scene is alive, that she has taken a journey analogous to that accomplished by Rosamond and Crispian in their quest to find their parents, and that when she has reached the place Where the Rainbow Ends she has been reunited with a child she had lost – presumably to death, since she has not seen it except in dreams for an extended period. What happens next? The last we see of the mother and child is an image of them running up the golden sands in jubilation; but a little later we witness the reunion of Rosamond and Crispian with their lost loved ones, Captain and Mrs Carey, on the same beach; and shortly afterwards all four surviving members of the Carey family are on Hope’s boat again, with the Blunders siblings, heading towards the English ship by which the Carey parents were earlier rescued from the Witch’s Cove where they were wrecked – a ship now ‘bound for England’ (p. 254). Moments later Saint George manifests himself at the stern of the boat, duly accompanied by the English national flag:

He was coming with them back to the dear land to which they were sailing; to fight once more the dragons that sought his country’s downfall – coming back, not to be lifeless stone in cold cathedral, but to live henceforth and for ever in the hearts of children of his race. (p. 255)

Of course, we are to understand that Captain and Mrs Carey were never really dead, they were merely shipwrecked on their way home from India; their deaths were a dreadful illusion which their children had been forced to live with for several months. But what of the nameless mother reunited with her dead child? The place Where the Rainbow Ends promises to restore ‘all lost loved ones’ to their relatives – that was the promise made by the book in the opening chapter. There was no mention there of the golden shore being in the afterlife, and in the final chapter there seems to be no prohibition on taking your recovered lost loved ones back to England along with the equally lost and recovered patron saint of England. The distinction between the saint in stone and the saint in living flesh reinforces the assumption; if you have sufficient faith in God and your country (which are here more or less the same thing, thanks to the happy accident of the country’s flag happening to be the emblem of the Christian faith), your lost loved ones will come back to life, whether they were dead or merely missing, and all will be well not just for a while but in fact ‘for ever’. That’s an irresponsibly massive pledge to make in a play for children. It also seems to make nonsense of an earlier passage in the novel where Uncle Joseph realizes he is about to die without benefit of patriotism, and hence alone:

Not one of a vast brotherhood who, though separated by continents, feels still bound and upheld by a thousand ties of national hopes and ambitions; not as the humblest patriot, who dying in a distant land, feels yet around and about him like a royal mantle those best traditions of his country he has given his life to uphold. (p. 204)

The final chapter holds out the possibility that those who die as part of the ‘vast brotherhood’ of patriots can be brought back from the dead. This investment of the nation with powers of resurrection beyond the divine is perhaps the most grandiose assertion about national identity I have ever encountered. God barely rates a mention in Where the Rainbow Ends; his place is almost entirely ceded to England, presumably because the name of God, like the title of saint, may be felt by many patriotic Englishmen to be no more than ‘a misty unsoldierly decoration’ (p. 72). The unsettling nature of Mills’s fantasy, then, is not just about its sadism; it’s also about the claims it makes on the reader’s world. Children reading a book like this are being encouraged to apply its assertions about the country Where the Rainbow Ends to their own ‘race’ in particular (there are no French, Jewish or African lost people, it seems, on the golden beach). They are being encouraged to think that the dead can be brought back to life through nationalistic fervour. It’s hardly inaccurate to describe a sentiment like this as fascistic, and to describe Mills’s book as engaging in a deeply irresponsible use of the strategies of fantasy.

Philip French once suggested in The Observer that the Christian writer C. S. Lewis might have been influenced by Where the Rainbow Ends when he wrote The Lion, the Witch and the Wardrobe (1950).[3] Given what I’ve just said about the book’s theology, one might imagine this would be improbable; but in fact there’s every sign that the book had a strong influence on Lewis – but not, I think, on the first of the Narnian chronicles. Certainly there are a lion and four children in both Where the Rainbow Ends and The Lion, but I can’t see much more to link them apart from a common zeal for battle and the presence in both of a wicked witch. Much closer, though, is the link between Mills’s book and The Magician’s Nephew (1955). Both involve a quest for the recovery of a parent, taken on by a boy and girl with the help of friends. Both contain tempting apples (the Slacker offers one to the cadets, Digory is offered one by Queen Jadis) and moments of exhilarating flight, on a winged horse in Lewis’s novel, a magic carpet in Mills’s. The apple in The Magician’s Nephew gets replanted in England and so becomes the English apple which is mimicked by the Slacker’s fruit. Meanwhile Digory’s father is away in India, and makes his way home at the end of the story against all odds, like Captain and Mrs Carey. But the most obvious link between the books is the wicked uncle. Uncle Joseph lives with his sister, exactly like Lewis’s Uncle Andrew, although Uncle Andrew’s sister Letitia (Aunty Lettie) is much nicer (and tougher) than Aunt Matilda. Both uncles are tall and thin, and given to wearing top hats, which like the rest of their clothing get subjected to appalling wear and tear – Uncle Andrew’s by his adventures in company with Jadis, the witch-queen of Charn, and Uncle Joseph’s by his underground journey in company with the devilish Dragon-King, during which his garments are ‘considerably damaged’ by ‘sparks and lava dust’ (p. 115). Both uncles have a singular contempt for children (remember Uncle Andrew’s willingness to use Digory and Polly for his experiments in magic). Both have a commercial side to their personalities, with Uncle Joseph scheming to deprive his niece and nephew of their inheritance – ‘Riverdale and the fortune that accompanied it’ (p. 199) – while Uncle Andrew devises grander projects to do with the newly-created land of Narnia: ‘Bring a few scraps of old iron here, bury ’em, and up they come as brand new railway engines, battleships, anything you please. They’ll cost nothing, and I can sell ’em at full prices in England. I shall be a millionaire’ (p. 103).[4] Finally, both uncles meet their doom at the hands, or rather paws, of savage animals. As we’ve seen, Uncle Joseph is first poisoned by drinking the tonic of an English lion cub then eaten by hyenas; while Uncle Andrew is first frightened half to death by a fully-grown lion, then pursued across the Narnian landscape by a crowd of baying beasts, which he thinks are hungry for his blood. Andrew is lucky enough to be mistaken; his death is only symbolic, and being less wicked than his prototype he is allowed to repent of his wickedness and become ‘a nicer and less selfish old man than he had ever been before’ in the final pages of Lewis’s novel (p. 171). His transformation can be taken to begin at the moment when the animals plant him in the earth of Narnia, mistaking him for a kind of tree. Unlike Mills’s Enchanted Tree, which started out as a dragon and retains a dragon’s hunger, Uncle Andrew’s planting eventually bears fruit in repentance and personal reform, which he carries back with him from Narnia very much as Digory carries back the fruit that will heal his dying mother.

Uncle Andrew’s reprieve can be read as a kind of symbolic reprieve for Where the Rainbow Ends, which is transformed by Lewis from a piece of imperialist propaganda to a creation myth for an Edenic secondary world. Lewis’s concern in the Narnian chronicles with revitalizing religious faith in the Britain of the 1950s is balanced in The Magician’s Nephew by an anti-imperialist spirit which runs more or less counter to the politics of Mills’s play and book. Lewis pits the Empress Jadis of Charn and her minor-league disciple, Uncle Andrew, against the lion Aslan, who raises ordinary London Cabbies to the status of kings but insists on their remembering how to ‘use a spade and a plough and raise food out of the earth’ (p. 129) and how to treat their subjects as they would wish to be treated themselves. The newly-crowned King Frank is exclusively concerned with protecting Narnia against its enemies rather than expanding its borders – though the assumption that he deserves ‘natural’ authority over both talking animals and his wife, Queen Helen, will annoy most modern readers. Lewis endows his main female character, Polly, with something of Rosamond’s force of personality, though on the whole women are relegated to a secondary position in his narrative compared with that of Mills; even the quest for the healing apple is Digory’s rather than Polly’s, though elsewhere in Lewis’s work he was happy enough to include girls among his principal questers (Lucy in The Voyage of the Dawn Treader, Jill in The Silver Chair).

At the same time, here as elsewhere Lewis takes it for granted that the fantastic genre he writes in is in some sense a feminine one. Uncle Andrew has inherited what magic talents he has from his godmother, Mrs Lefay, whose name suggests an association both with fairy tales and Arthurian legend. She it was who bequeathed her godson a box from Atlantis containing dust from another world (Philip Pullman took note), which he uses to manufacture the rings that convey the child protagonists, Digory and Polly, to Charn and Narnia. Uncle Andrew, however, has learned nothing from this about the potency of female storytelling. When Digory points out that Mrs Le Fay’s gift suggests that ‘all the old fairy tales are more or less true’ (p. 28), and that one of the things that happens in fairy stories is that wicked people like Uncle Andrew get their come-uppance, his uncle retorts that such notions are no more than ‘Old wives’ tales’ and that Digory only believes them because he was ‘brought up among women’ (p. 29). One of the women Lewis himself got his ideas from was Clifford Mills, and this makes me wonder how many other better remembered writers owe a debt to her unsettling fantasy of death reversed, treason savagely punished, and imperial degeneration temporarily halted.

Where the Rainbow Ends has a place in the history of British fantasy, and I think it’s best not to forget it, no matter how uncomfortable it makes us feel. Fantasies can be damaging, it reminds us, as well as enriching; and even damaging fantasies can sometimes have unexpectedly enriching effects. Where the Rainbow Ends shaped me to a certain extent as well as Lewis, and it’s crucial to analyse that shaping process if we are not to be controlled by it. I can’t honestly, however, recommend that you read the book for yourself.

Notes

[1] Clifford Mills was Emilie Clifford (née Bennet, married Harold Mills Clifford in 1889), who adopted a variant of her husband’s name when writing. Besides Where the Rainbow Ends she wrote two other successful plays, The Basker (1916) and The Luck of the Navy (1919), both of which were performed on Broadway. The Luck of the Navy was filmed twice, in 1927 and 1938.

[2] Clifford Mills, Where the Rainbow Ends (London: Forgotten Books, 2015); all references are to this facsimile edition.

[3] Philip French, ‘The Chronicles of Narnia: The Lion, the Witch and the Wardrobe – review’, The Observer, Sunday 11 December 2005.

[4] C. S. Lewis, The Magician’s Nephew (London etc.: William Collins and Sons, 1989). All references are to this edition.

Shakespeare’s Merry England, Part 3: Falstaff’s Wholesomeness

Ralph Richardson as Falstaff, Laurence Olivier as Shallow

Time catches up with Falstaff in the end.  2 Henry IV resonates with the ticking of clocks – ‘we are time’s subjects’, says one of the elderly rebels as the insurrection gets under way (1.3.110) – and clocks are Falstaff’s enemy, bringing him always closer to humiliation and death.  It is full, too, of fragile and broken friendships, of which Falstaff has his share.  Justice Shallow masquerades as his lifelong bosom buddy despite the fact that they both know Shallow’s account of their wild youth together to be fraudulent, a crude and hasty fabrication designed to screen their mercenary desire to profit by one another.  ‘I do remember him at Clement’s Inn’, says Falstaff, ‘like a man made after supper of a cheese-paring.  When a was naked, he was for all the world like a forked radish, with a head fantastically carved upon it with a knife’ (3.2.303-7); and he later adds that he could make a dozen Shallows from the superabundant material of his own body (5.1.62-4).  Shallow clearly hopes that Falstaff will ‘make’ him in another sense by making his fortune, and this is the shallow foundation of their friendship.  The casting off of Falstaff is the moment when his accumulated debts catch up with him, as the newly-crowned Hal reminds him of what he said in Part One – that ‘thou owest God a death’ (1 Henry IV, 5.1.126) – and forestalls any ‘fool-born jest’ he might invent to inveigle his way out of due payment (2 Henry IV, 5.5.55).  Shallow at once calls in his loans (‘let me have five hundred of my thousand’ (5.5.84-5)) and Falstaff is clapped into prison to atone for his misdeeds, financial and moral.   The fat knight’s promised reappearance in Henry V, which is flagged in the epilogue, never materializes except in the account given by the hostess of his death (Henry V, 2.3.9-25) – as if he has managed one last time to escape shot-free from his creditors, in this case the theatre audience which is responsible for his success, and which clamoured for a sight of his curtain call.  Falstaff’s reign ends with Hal’s betrayal, and the ancient moral and social hierarchies of England are both reinstated at once, their restoration ushered in with tired old moral commonplaces such as ‘How ill white hairs become a fool and jester’ (5.5.48).

Shallow and Silence, by J. Coghlan (c. 1820)

But this is not the whole story; because Hal’s crowning coincides with the figurative crowning of Falstaff, and it is on the body of Falstaff, as it were, that Hal erects his kingdom.  Falstaff is the presiding spirit of the unhistorical ‘merry’ or comic England over which Hal plans to reign; the England where lions recognize the true prince ‘by instinct’ and where Shallow’s glowing account of his youth is true.  ‘Merry England’ is created in 2 Henry IV by the sheer force of Falstaff’s laughter.  ‘The brain of this foolish-compounded clay, man,’ he tells us, ‘is not able to invent anything that intends to laughter more than I invent, or is invented on me; I am not only witty in myself, but the cause that wit is in other men’ (1.2.7-10).  And he triumphantly bears out this claim in the rest of the action.  His arraignment by the Lord Chief Justice is transformed at his hands into a jest; Shallow’s falsifying of the past furnishes him with comic material to ‘keep Prince Harry in continual laughter the wearing out of six fashions’ (5.1.77-81); and even the grim Prince John, despite the fact that ‘a man cannot make him laugh’ (4.3.87-8), prompts one of his most brilliant flights of fantasy, the disquisition on sack.  The fat knight’s disease-ridden body, then, grown cold with age and huge with self-indulgence, generates wholesome hilarity, the healthiest of moods, which spreads from him like a benign virus until near the end of the play it erupts in the cheeriest party in theatrical history.  The party takes place in an orchard on the eve of Hal’s coronation, and in it a man called Silence bursts into song, a male servant is commended for being a good ‘husband’ to his master (5.3.10-11) – meaning both a good steward and a good marriage partner; Falstaff’s red-nosed retainer Bardolph is told he speaks like a king (5.3.68), a young page finds himself welcomed with the same enthusiasm as his old employer (‘Welcome, my little tiny thief and welcome indeed, too!’ (5.3.56-7)), and the company in general is urged to ‘Lack nothing’ (5.3.68), to discard the years of penury they have suffered and to feast instead on the fruits with which Shallow’s orchard, and England in general, is stocked.  The contrast with the orchard scene where the starving Jack Cade was killed in the midst of plenty could not be more pronounced.  And the party ends with a promise that this genial atmosphere will soon extend itself throughout the nation, as Falstaff hears the news of Henry’s death and declares that ‘the laws of England are at my commandment’ (5.3.136-7), while his comrade Pistol salutes a happy future: ‘welcome these pleasant days’ (5.3.141).

Kenneth Branagh as Henry V

Of course the casting-off of Falstaff puts a dampener on these celebrations.  The authority of a monarch could not tolerate a rival of Falstaff’s size and energy, and although we are assured that Hal’s former friends ‘Shall all be very well provided for’ (5.5.100), the fact that it is the odious Prince John who tells us so – and that such sensible provisions seem so much less glorious than the comic vision we glimpsed in Shallow’s orchard – detracts from the pleasure we might otherwise derive from these reassurances.  If Prince John delights in Hal’s transformation, we as an audience have good reason to distrust it.  And sure enough, there are plenty of Prince John moments in the career of Shakespeare’s Henry V.  Henry’s humour is as calculated as Hal’s, and recalls at times the cruelty of Prince John’s coldly jocular betrayal of the rebels.  We have already mentioned his witty exposure of the treachery of his friends Cambridge and Scroop, whom he mocks for having ‘lightly conspired’ against his throne (Henry V, 2.2.89); but far more disturbing is the gigantic jest that is the invasion of France.  It is one of a series of dazzling diversions designed to draw attention away from the problematic aspects of Henry’s inheritance.  If his claim to the throne of England is poor, he must stress his claim to the throne of France, obedient to his father’s advice to busy the ‘giddy minds’ of his subjects with foreign quarrels (2 Henry IV, 4.5.213-4).  If he is the aggressor in a war let him transfer the blame to his enemies, telling the besieged citizens of Harfleur that ‘you yourselves are cause, / If your pure maidens fall into the hand / Of hot and forcing violation’ (Henry V, 3.3.19-21) (he sounds here as if he is recalling a lesson from the laughing conquest of Asia by Marlowe’s Tamburlaine).  If military action is in his interest he must make sure it is represented as God’s war, divine punishment on any English criminals who die in battle.  It is the very lightness of touch, the comic sleight of hand involved in all these post-Falstavian evasions that makes them chilling.  Hal’s lies are not gross as a mountain, as Falstaff’s were, but breezy and scarcely visible.  And their breeziness kills people, like the jovial folksiness of a modern warmonger.

Felix Aylmer, Laurence Olivier and Robert Helpmann in the opening scene of Henry V

The link between laughter and slaughter in Henry’s reign is at its strongest in Act One, when the Archbishop of Canterbury – eager to divert Henry’s attention from his plans to tax the church by sending him to France – describes England’s former French campaigns as a grotesque spectator sport, in which the Black Prince’s father ‘Stood smiling to behold his lion’s whelp / Forage in blood of French nobility’ (1.2.109-10), while half the English army stood ‘laughing’ next to him, ‘All out of work and cold for action’ (1.2.113-4).  Henry at once catches the Archbishop’s tone, and seizes the pretext of the Dauphin’s mocking gift of tennis balls to represent his own French campaign as a still bloodier joke than the wars waged by his ancestors:

        …tell the pleasant Prince this mock of his
Hath turned his balls to gun-stones, and his soul
Shall stand sore charged for the wasteful vengeance
That shall fly with them; for many a thousand widows
Shall this his mock mock out of their dear husbands,
Mock mothers from their sons, mock castles down…
His jest shall savour but of shallow wit
When thousands weep more than did laugh at it. (1.2.282-97)

Henry’s campaign is designed to show that the English King is wittier than the French Prince, that all debts to him will be repaid with interest, and that all insults aimed at him will produce an instant and devastating retaliation.  Henry, in fact, must be the undisputed master of ceremonies in the play that bears his name.

Laurence Olivier as Henry V

But Falstaff leaves Hal with another legacy besides the ability to forge brilliant ripostes and improbable evasions.  The fat knight acted as a bridge between the Prince and the common people, whose language Hal learned in Falstaff’s company.  As Hal puts it in Part One, ‘I can drink with any tinker in his own language during my life’, and ‘when I am King of England I shall command all the good lads in Eastcheap’ (2.4.13-19); and the heir apparent even goes so far as to disguise himself as a tapster in Part Two.  This familiarity with the people and their language provides Henry with his most brilliant evasive stratagem: that of avoiding the issue of his shaky claim to the throne by rhetorically ennobling the entire population of his nation.  In Henry’s language, though not in his policies, the hopes of Falstaff and his gang to be elevated to the aristocracy are abundantly borne out.  As he storms the breach at Harfleur Henry urges all his men, not just the aristocracy, to remember their ancestry with pride: ‘On, on, you noblest English’, he cries, and describes their fathers as ‘so many Alexanders’ (3.1.17-19).  Later the Welsh captain Fluellen attests to the success of this stratagem when he compares Henry to Alexander partly on the strength of the resemblance between Monmouth in Wales and Alexander’s Macedonia (4.7.11-52).  Henry has clearly succeeded in giving his subjects – even his non-English subjects – a sense of ownership, of full participation in his triumphs.  ‘There is none of you so mean and base,’ he tells them, ‘That hath not noble lustre in your eyes’ (3.1.29-30), and in saying so he draws their attention away from the less than royal lustre of his own coat of arms.  The Prince John aspect of Henry’s humour prompts him to trick one of his common soldiers, Michael Williams, into being falsely accused of high treason (4.8.9ff.) – though he pardons his victim at the last minute and compensates him for his terror.  The Sir John aspect of his personality, by contrast, permits him to demystify the role of King (‘his ceremonies laid by, in his nakedness he appears but a man’ (4.1.104-5)), and to address his followers as ‘brothers, friends, and countrymen’ (4.0.34).[1]  When he imparts to both his ‘mean and gentle’ soldiers ‘A little touch of Harry in the night’ (4.0.45-7), he transforms them into aspects or clones of himself, thus strengthening his power to the extent that it can never be undermined.  The skill with which he achieves this he owes to the ‘tutor and… feeder of his riots’, Falstaff (2 Henry IV, 5.5.62).

Henry is no egalitarian.  All his rhetoric is designed to strengthen his position as undisputed monarch of England and France, not to establish a new English commonwealth based on fairer principles than the old.  But his reign involves due recognition of the central role played by the common people in the changing fortunes of England; and from this time forth their status as major players in history is confirmed.  Henry dies young, and his predictions of the future, like Falstaff’s, prove over-optimistic from his own point of view.  He never fathers a son who is capable of leading a crusade to Constantinople or of forging a lasting peace between the French and English peoples – or even between rival factions in the English aristocracy.  But the common people he figuratively ennobled, and whose power he understood, live on, and comprise the audience of Shakespeare’s Henry V, a play that reminds them repeatedly of their capacity to make a difference in affairs of state.  It is the common people, the play seems to say, who make or break monarchs, just as the collective power of the people’s imagination can recreate a Henry on the Elizabethan stage.  Without the precedent of Falstaff’s outrageous imaginings this Shakespearean revelation could never have acquired the force it has.

Falstaff in the laundry basket, by Eduard von Grützner

And Falstaff’s imaginative construction of ‘merry England’ has another outlet besides the career of Henry V.  The merry-making in Shallow’s orchard is recalled in the title of The Merry Wives of Windsor, the only Shakespearean comedy set in England; and the play provides a kind of escape from the nightmare of history.  There is just one mention in it of the grand narrative of the Second Tetralogy, when we are told that the impoverished aristocrat Fenton was once a companion of ‘the wild Prince and Poins’ (3.2.65-6); but this merely disqualifies him, in the minds of the middle-class married couples who dominate the play, as a suitable match for their daughter (3.4.4-10).  In the same way, the middle classes are carefully excluded from the Tetralogy, paying their way out of military service and thus avoiding the slaughters, betrayals and machinations that are the province of their nominal rulers.  The events of chronicle histories are irrelevant to these people’s lives; and this play narrates the histories of ordinary men and women, history as it is purveyed in the jest-books, whose pranks and japes are faithfully reproduced in the farcical situations with which it is filled.

The titular merry wives occupy an egalitarian rural space where nearly everyone can participate with equal enthusiasm in plots to make, break, prevent or preserve each other’s marriages.[2]  It is a space where women rule the roost, hatching stratagems designed to show, as Mistress Page insists, that ‘Wives may be merry and yet honest too’ (4.2.100), in contrast to the dishonest merriment of aristocrats and hereditary knights like Sir John.  And it is a space where jests do no harm, as all the characters repeatedly assure us.  The host’s deception of the doctor, Caius, and Hugh Evans the parson, is devised not to hurt them but to prevent them from doing each other damage in a duel; the wives’ deception of Falstaff aims to prevent him hurting their husbands by committing adultery; Fenton’s tricking of Anne Page’s parents proves that he has laid aside his aristocratic wildness and committed himself to the stability of middle-class matrimony.  As Parson Evans puts it, the play is driven by ‘admirable pleasures and ferry honest knaveries’ (4.4.79-80), and Master Page piously confirms his view: ‘God prosper our sport.  No man means evil but the devil, and we shall know him by his horns’ (5.2.12-13).  The authoritarian anti-theatrical lobby, then, is as irrelevant here as the iron hand of the law, or civil war, or bloody revenge; and so rigorously are these oppressive considerations excluded from the action that it would be fair to describe this as Shakespeare’s only pure comedy, the only play in his oeuvre that is unshadowed by the threat of death or the intimidating presence of rulers.29

Falstaff as Herne the Hunter, by Robert Smirke

The egalitarianism of the play asserts itself in the fact that nearly everyone in it has at least one prank played on them.  Falstaff is tricked more often than anyone else, and subjected to more painful physical abuse: half-drowned in a deep ditch, beaten in women’s clothes, pinched black and blue by children disguised as fairies.  But he is never isolated in his comic sufferings, as he so often seemed to be in Henry IV; his humiliation is shared by the bulk of the Windsor community.  Master Ford, Mr and Mrs Page, Slender, Shallow, Doctor Caius, the Host of the Garter and Parson Evans, are all conned as comprehensively as he is, and he himself notes the multiplicity of quarries there are for the play’s pranksters: ‘When night-dogs run, all sorts of deer are chased’ (5.5.232).  So if Falstaff is toppled from his position of supreme comic pre-eminence in this play, as many commentators have remarked, his former absolutist monarchy is supplanted by a commonwealth of merriment, the model for a new anti-authoritarian England.  In place of the crown of power and influence he hoped for in the Henriad, the fat knight is given a crown composed of the antlers of a Windsor stag, ‘the fattest, I think, i’the forest’ (5.5.12-13).  And while the stag is the most lordly of wild beasts, it is also the principal ingredient of the ‘hot venison pasty’ Master Page serves to his guests in the first scene of the play, in token of the amity between them (1.1.181).  In the play’s last scene, then, Falstaff has become a wholly wholesome dish, his predatory sexual desires transmuted into a harmless fairy-tale, his bulk made the centre of an inclusive social circle.  He has been defused, in other words, but not deflated, and the genial metamorphosis is completed at the end of the scene when Mistress Page invites him to ‘laugh this sport o’er by a country fire’ and enjoy, with his friends, ‘many, many merry days’ (5.5.234-7).  In The Merry Wives of Windsor merriness is vindicated, laughter liberated from slaughter, and the shadow of civil war dispersed from a land where everyone enjoys warmth and enough to eat.  It is not the land where the Elizabethans lived, but thanks to Falstaff and his friends they could go home from the performance nurturing the hope that one day it might be.

Falstaff, by Mihály Zichy

NOTES

[1] He again makes his followers his brothers – thus ennobling them – in the famous St Crispin’s Day speech (Henry V, 4.3.56-67).

[2] Leah S. Marcus argues that the version of the play printed in the First Quarto of 1602 is more egalitarian in its drift than the version in the Folio: ‘Levelling Shakespeare: Local Customs and Local Texts’, Shakespeare Quarterly 42 (1991), pp. 168-78.  For the relationship between the two texts see The Norton Shakespeare, pp. 1231-3.

[3] Apart, of course, from the ruler who may have been watching the play’s first performance.  For the theory that the play was written at the command of Elizabeth I for performance in her presence at the Garter Feast of 1597, see Peter Erickson, ‘The Order of the Garter, the Cult of Elizabeth, and Class-Gender Tension in The Merry Wives of Windsor’, Shakespeare Reproduced: The Text in History and Ideology, ed. Jean E. Howard and Marion F. O’Connor (New York, 1987), pp. 116-45.  It should be noted, though, that the one direct reference to Elizabeth in the play – as a future owner of Windsor Castle who is blessed by Mistress Quickly in her capacity as Fairy Queen – stresses her absence from the play’s world; the castle is blessed while it is seemingly empty (5.5.55-74).

 

 

 

Shakespeare’s Merry England, Part 2: The Fatness of Falstaff

Richard II, boy king

Besides being rooted in his nation’s present, Jack Cade’s campaign is also embroiled in its past: his insurrection could never have got under way if he had not claimed descent from the ‘legitimate’ successor to the deposed King Richard II.  The emaciated Cade, then, owes his rise and fall to the same conditions that permit the rise and fall of that ‘gross fat man’ Jack Falstaff: the disorder that followed Richard’s deposition from the throne of England.  But Falstaff’s body is far more intimately involved with the physical condition of his country than Cade’s is.   From the beginning of Richard II, when England succumbs to the social sickness that will plague it throughout the civil wars of the fifteenth century, the body forms the focus of Shakespeare’s Second Tetralogy – the epic series of plays comprising Richard II, Henry IV Parts 1 and 2, and Henry V.  And the mountain of flesh Falstaff, who dominates the two central plays of the series, is living, breathing proof both of England’s diseased condition and of its irrepressible vitality, its lively hope, like that of a pregnant mother, of better times to come.[1]

Falstaff is no commoner: he is a hereditary knight who has fallen on hard times but lives in expectation of rejoining the ranks of the nobility once Hal comes into his inheritance.[2]  But Falstaff’s body has been swollen by the attentions of commoners, especially brewers and barmen; it holds sway in the streets and taverns of the city where commoners throng; and it consumes the cheap luxury commodities that enrich the commoners’ leisure hours.  He links the material preoccupations of the commoners to the airy obsessions of the ruling classes as no-one else does in Shakespeare; and he does so through the miracle of his corporal vastness, which is as much a product of his exuberant language as it is of his physical presence on the stage of English history.

Patrick Stewart as John of Gaunt

In Richard II, a king’s self-indulgent playfulness, his arrogant assumption that his royal powers are absolute and that he may therefore ignore the contracts that bind him to his subjects, unleash a sequence of consequences that are described in metaphors of physical debility.  Richard’s arbitrariness first manifests itself when he banishes two of his nobles in the opening act, with devastating effects on their bodies.  The pair, who are initially in perfect health (Bolingbroke describes himself as ‘lusty, young, and cheerly drawing breath’ (1.3.66)), abruptly find their limbs out of control, bereft of their former agility.  As the other exile, Mowbray, tells the King, by sending him to a foreign land ‘Within my mouth you have engaol’d my tongue, / Doubly portcullis’d with my teeth and lips’ (1.3.166-7), while Bolingbroke compares the severing of their flesh from English soil to the parting of soul from body (1.3.194-7).  Meanwhile Bolingbroke’s father, the dying John of Gaunt whose spirit is literally about to leave his body, accuses the King of damaging his own constitution as well as those of his nobles and his kingdom.  The fashionable monarch ‘limps after’ the trendy customs of Italy (2.1.23), ‘tires’, ‘chokes’ and ‘consumes’ himself with a ‘rash, fierce blaze of riot’ (2.1.33-9), and binds up that ‘teeming womb of royal kings’ England in crushing legal restraints to pay for his own excesses (2.1.51ff.).  John of Gaunt’s body, as emaciated as his name suggests, is for him the emblem of England’s decay, bled dry by the King’s frivolous rapacity (2.1.73-83).  But it also illustrates the accelerated decrepitude that Richard is bringing on himself as he commits his ‘anointed body’ to the care of ‘those physicians that first wounded thee,’ his reckless favourites (2.1.98-9).  And once old Gaunt is dead, Richard’s diseases multiply apace.  His Queen quickly detects ‘Some unborn sorrow ripe in Fortune’s womb’ about to fall on his head instead of the son he has failed to father (2.2.10); and when Bolingbroke reappears on the scene, proclaiming his intention to reclaim the ancestral property Richard stole from him during his exile, the Queen recognizes the ambitious young man as her ‘sorrow’s dismal heir’ (2.2.63) – metaphorically designating him both as a substitute prince of the royal blood and as an embodiment of his kingdom’s future misery.  In the same scene, the Duke of York compares Bolingbroke to an illness invading the nation’s bloodstream in response to the King’s lifestyle: ‘Now comes the sick hour that [Richard’s] surfeit made’ (2.2.84).  From this time forth, Richard with his ‘ruin’d ears’  (3.3.34) and eyes blinded with tears is marked as subject to a more powerful monarch, Death, who occupies the ‘court’ of the King’s living corpse, ‘grinning at his pomp’ with fleshless jaws (3.2.155-70).  Richard begets his own death, in other words, like a parodic heir apparent, a grotesque alternative dynasty to replace the dynasty that he never succeeds in founding.  At the end of his life he is still fathering imaginary, abortive heirs: ‘A generation of still-breeding thoughts’ that plague him in prison after his abdication (5.5.8), content with nothing till they are finally made nothing by Richard’s death.

But for Bolingbroke, too, as Richard’s heir, the prognosis is none too good.  If he is Richard’s and England’s sickness, the time will inevitably come when the disease will grow to a crisis, when ‘foul sin gathering head / Shall break into corruption’, as Richard puts it (5.1.58-9).  Richard predicts that this crisis will be brought about by Bolingbroke’s friend and ally, the Earl of Northumberland: and his prediction is remembered eight years later by the ailing Bolingbroke – now Henry IV of England – in the third act of 2 Henry IV (3.1.76-7).  The two parts of Henry IV chart the progress of England’s infection, and Falstaff is at once its most visible symptom, its most eloquent diagnostician and (perhaps) its comic cure.[3]

Tom Hiddleston as Hal, Simon Russell Beale as Falstaff

Every detail of the environment he inhabits was predicted in Richard II.  Richard’s addiction to laughter forms the model for Hal’s tavern-haunting, as Henry IV points out (‘For all the world / As thou art to this hour was Richard then’ (1 Henry IV 3.2.93-4)), and Hal’s drinking-bouts with Jack recall Richard’s rowdy exploits with his boon companions Bushy, Bagot and Green.  Bolingbroke’s rise to power in Richard II, sustained by the commoners who love him, is described by Richard’s Queen as a process whereby ‘triumph is become an alehouse guest’ (5.1.15), and spurs Hal to nurture a still greater intimacy with the residents of alehouses.  Falstaff’s commentary on affairs of state, too, has a precedent in Richard II, in the commentary of an egalitarian gardener on the state of England in Act Three (3.4.24ff.).  More unsettlingly, the brittle and temporary nature of the friendship between Falstaff and Hal – a brittleness that is repeatedly emphasized by the Prince – resembles the superficial friendships cultivated by Bolingbroke in his rise to power.  ‘I count myself in nothing else so happy,’ Bolingbroke tells Northumberland as he returns from exile, ‘As in a soul rememb’ring my good friends’ (Richard II, 2.3.46-7); but it is the breakdown of friendship between Bolingbroke and Northumberland that precipitates rebellion when Bolingbroke is King.  In his relationship with Falstaff Hal comically recreates the history of the monarchs who preceded him, scrutinizing the conditions that led first Richard and then Henry to lose control over the course of events, as they presented their subjects with every opportunity to reinvent them at will, to trespass on the royal prerogative of self-definition.  Through Falstaff Hal acquires the art both of reinventing himself and of evading definition by others: a comic skill, but the art of the wit rather than the fool, of the acknowledged master of delightful improvization rather than the helpless butt of collective laughter.  With Falstaff, too, Hal learns the art of controlling others – even the most uncontrollable people of all, the clever clowns.  Or at least, so Hal presumes; how far he succeeds has always been a matter of debate.

The splitting of the reign of Henry IV into two plays corresponds to the splitting of his kingdom into factions – another symptom of the disease of state contracted first by Richard and then by Henry.  It structurally reinforces, too, the astonishing multiplication of would-be kings and heirs that emerge as a direct result of Henry’s illegal seizure of power from the legitimate monarch.  Both plays are full, not so much of pretenders to the throne as of competing versions of the King himself and the Prince his son.  The First Part opens with Henry wishing it could be proved that his son Hal had been substituted at birth for the young war-hero Hotspur, who seems so much more princely in his conduct than the prince (1.1.77-90).  Later, Henry tells Hal how his younger brother Prince John has acted as Hal’s substitute in the Privy Council (3.2.32-3); and this is what stings Hal to predict the moment when he will substitute himself for his rival Hotspur, making him ‘exchange / His glorious deeds for my indignities’ in a deadly encounter on the battlefield (3.2.145-6).  Hal, then, is regularly ‘performed’ both by his subjects and in his father’s imagination; and Henry IV finds himself performed yet more often by those beneath him.  The rebel lords see him as their creation (he enjoys ‘that same greatness… which our own hands / Have holp to make so portly’ (1.3.12-13)), and take it on themselves to read his thoughts, assuming that he ‘studies day and night’ to pay his debt to them with their deaths (1.3.182) – an assumption that is directly responsible for their insurrection.  In Act Two, Hal and Falstaff take it in turns to play the King in an impromptu comedy performed in an Eastcheap tavern (2.4.368ff.).  In Act Four it is Hotspur’s turn to be christened by Douglas ‘the king of honour’ (4.1.10) (Hal has earlier dubbed himself ‘the king of courtesy’ (2.4.10)).  And in the battle of Shrewsbury there are dozens of men playing the King, ‘marching in his coats’ as decoys for the rebels’ blades (5.3.25).  As a result, the battlefield seems to be comically thronged with Henries, a host of visored monarchs whose outsides give no clue to their inward identity, so that the frustrated Douglas finds he must ‘murder’ all the royal wardrobe ‘piece by piece’ before he can reach the King (5.3.27).  This giddying multiplication of Henries slows down in 2 Henry IV, but even here Falstaff and the Lord Chief Justice contend with Henry for the position of father to the Prince of Wales.  Henry IV, then, is not two parts but many, as if his expert performance of the previously restricted role of king has inspired all ambitious men to think they can emulate his acting skills with impunity.  As with Macbeth, the leap of imagination he took in usurping the monarchy unleashes the power of his subjects’ imaginations, so that nothing is unthinkable – no act of treason, courage or ambition – for as long as he retains the throne of England.

Jeremy Irons as Henry IV

But the two parts of Henry IV also indicate a split within Henry himself, a deadly separation of his vital components that is one physical consequence of his failure to commit himself, in Richard II, on the subject of whether he was or was not a legitimate contender for the crown.  According to early modern medical theory, derived from the teachings of the Roman physician Galen, the human body is composed of four elements or humours, the microcosmic equivalents of the four elements that make up the world: earth, air, fire and water.[4]  A healthy body has its four humours in perfect harmony, holding each other in a precarious equilibrium, whereas in an ailing person one or more of these humours dominate, reducing the others to a secondary role and enfeebling the whole constitution as a result.  The two parts of Henry IV suggest through metaphor that the humours in the body of the English nation have been radically destabilized.  In the first part, the elements of fire and air hold sway; the emphasis is on the self-destructive energies of youth, on the dangerous love of sheer speed that is one of youth’s characteristics, and on the violent rivalries between young men that had such damaging effects in Romeo’s Verona.  In the second part, earth and water prevail over fire and air, old age supplants youth as the presiding genius of the time, a chill settles on the language of the contesting English factions, and everyone seems to stir themselves reluctantly into sluggish action, forcing their bodies to move – whether in rebellion or counter-rebellion – with pain and difficulty, and desisting from motion with obvious relief.  In Part One, the heat of the times engenders warm friendships between men and loving exchanges between husbands and wives.  Hal’s affectionate farewell to Falstaff when he thinks him dead is the high point of their relationship (5.4.101-9), and the exchanges between Harry Hotspur and Kate his wife evoke an atmosphere of marital closeness, strong desires and cheerful bickering that endears them to the play’s spectators.  In the second part, relationships are at best cooler, at worst shattered by rejection and betrayal.   Family members are distant from one another: Hotspur’s wife Kate, who has survived her husband’s death at the end of Part One, urges her father-in-law Northumberland to break his word to his fellow rebels for no better reason than that he has already broken his word to Hotspur his son, the man she loved (2.3.9ff.); while the mood of the play is incapsulated in Henry IV’s despairing cry to his own sons – from whose number at this moment Hal is conspicuously absent – ‘O me! Come near me, now I am much ill’ (4.3.111).  The contrast between the two parts may best be summarized by the climactic encounters between the rebels and the forces of the crown in each play.  The first culminates in a duel between two young men, fuelled by hot words and ending with the gushing of youthful blood.  The second culminates in an act of treachery, where a rebel force headed by old men are tricked into disbanding with a promise of mercy, then massacred by the army of the cold-blooded Prince John.  Heat and cold, youth and old age, and the elements associated with these conditions, seem to have undergone an agonizing divorce in Henry’s reign, and the instability of a state has never been more brilliantly realized in artistic form than it is in this astonishing diptych.

Orson Welles as Falstaff

Falstaff provides a satirical running commentary on the divorce between the humours and their associated elements that afflicts the plays.  In Part One he absurdly masquerades as a man of Hal’s and Hotspur’s generation, bellowing ‘young men must live’ as he robs the travellers at Gadshill (2.2.90) and melting his fat in streams of perspiration as he flees from the scene of the crime (2.2.107-8), in grotesque imitation of the ‘beads of sweat’ shed by the sleeping Hotspur as he dreams of battles to come (2.3.56-9).  The tavern scenes over which Falstaff presides are lit by fires – the ‘everlasting bonfire-light’ of his retainer Bardolph’s inflamed nose (3.3.41), and the infernal conflagrations conjured up by repeated references to devils and hell (Jack himself is ‘a devil… in the likeness of an old fat man’ (2.4.441-2)).  In the second part the fat knight’s pretensions to youth are exploded early on by the Lord Chief Justice, and for the rest of the action Falstaff is acutely conscious of his age, reminded of it repeatedly by the nostalgic ramblings of Justice Shallow and the tendency of the whore Doll and others to ‘speak like a death’s head’ by bidding him ‘remember mine end’ (2.4.34-5).  If Falstaff’s constitution is never quite cold in the Second Part – unlike that of other old men, such as Northumberland, the Archbishop of York, and the King  – it is because his blood has been artificially heated by alcohol, as he explains in his famous speech on the inflammatory qualities of a ‘good sherris-sack’ (4.4.85-124).  Nevertheless, this speech ties in with the many allusions to water and other chilling liquids that fill the play; and a look at these ties will help to show how the Falstavian comic ‘subplot’ operates with relation to the political ‘main plots’ in the two Parts.

In Part Two, water metaphors dominate the language of the rebels, who associate their insurrection with one of the sudden deluges that brought periodic devastation to the English countryside.  In the first scene, Northumberland declares that the death of his son Hotspur has unleashed a flood of grief in him that will overwhelm the nation.  ‘Now let not Nature’s hand / Keep the wild flood confin’d’, he cries (1.1.153-4), and later the Archbishop of York takes up the theme, telling the King’s representative that he and his colleagues were ‘enforc’d from our most quiet… / By the rough torrent of occasion’ (4.1.71-2), and promising that if their demands are met ‘We come within our aweful banks again’ (4.1.176).[5]  Henry IV’s followers, too, associate water with insurrection and impending anarchy.  As the king lies dying his younger sons speak of the omens that announce his imminent death, and the chaos that will follow once his wild son Hal assumes the crown: ‘The river hath thrice flow’d, no ebb between’, says Clarence, ‘And the old folk… Say it did so a little time before / That our great-grandsire Edward sick’d and died’ (4.4.125-8).  Hal responds, when he inherits the throne, by proclaiming the return of moderation to the ‘tide’ of his blood:

          The tide of blood in me
Hath proudly flow’d in vanity till now.
Now doth it turn, and ebb back to the sea,
Where it shall mingle with the state of floods,
And flow henceforth in formal majesty. (5.2.129-33)

Falstaff’s speech on sack, then – the fortified Spanish wine that stirs up the forces of ‘this little kingdom, man’ (4.3.108), and has made Hal ‘very hot and valiant’ (4.3.121) – contributes to the many references to liquid that distinguish this play from its fire-filled predecessor.  And although the liquid Falstaff mentions is a fiery one, counteracting with its warming properties the ‘cold blood’ he says the Prince inherited from his father (4.3.117), its effects are only temporary, and its after-effects as cooling as those of any other inundation.  We have good reason to be aware of this when Falstaff delivers his eulogy, because in the previous scene we have seen Hal’s brother Prince John drinking with the rebels in token of the settlement reached between them and the King; and this loving cup turns out to be a poisoned one.  ‘Let’s drink together friendly and embrace,’ Prince John proposes to the gullible insurgents, ‘That all… eyes may bear those tokens home / Of our restored love and amity’ (4.2.63-5); but as soon as the drink has been taken and the rebel army disbanded he has his new ‘friends’ arrested and carted off to ‘Treason’s true bed’ (4.2.123) – the executioner’s block – like drunks carried home after a night of over-indulgence.  Drink makes men sick, as Falstaff himself informs us at the beginning of the play when he complains of the gout it has given him (1.3.244-5).  And Falstaff’s celebration of Hal’s drink-induced warmth, too, turns cold when Hal freezes him out in the final act, rejecting him as irrelevant to his new kingly role.  The old man’s sickness and death, so touchingly reported in Henry V, follow on naturally from the fact that Hal no longer needs either him or sack – or indeed ‘small beer’, the poor man’s tipple that Hal recalls with fondness early in Part Two (2.2.5-11) – to counteract the natural coldness of his dead father.

Carlos Àlvarez in Verdi’s Falstaff

If Falstaff’s encomium of sack meshes with the metaphorical fabric of Part Two, his equally celebrated speech or ‘catechism’ on honour occupies a similar place in the figurative design of Part One (5.1.127-41).  Honour is the preferred currency of the hot-blooded aristocrats who lead the rebellion in this part, and as Falstaff suggests, it is entirely constructed from air.  At the beginning of the play Hotspur declares his intention of lifting his favoured claimant to the throne, Lord Mortimer, ‘As high in the air as this unthankful King’ (1.3.134); and the phrase makes insurrection sound like a kind of trapeze artistry, a dangerous and futile exercise in acrobatics.  When he later boasts of the ease with which he might ‘pluck bright honour from the pale-fac’d moon’ (1.3.200) his uncle Worcester notes the emptiness of his rhetoric: ‘He apprehends a world of figures here, / But not the form of what he should attend’ (1.3.207-8).  His speeches are glowing castles in the air, constructed and dismantled at a moment’s notice.  The anonymous letter he receives warning him of the ‘lightness’ of his plot (2.3.12) triggers a lengthy speech from Hotspur dismissing the writer’s objections, which ends by blowing away the young man’s own anxieties in a trice and rendering itself superfluous: ‘Hang him, let him tell the King, we are prepared’ (2.3.33-4).  Similarly, his lengthy speech detailing the rebels’ grievances in Act Four is retracted as soon as uttered: when Blunt asks, ‘Shall I return this answer to the King?’ the young man replies, ‘Not so, Sir Walter.  We’ll withdraw awhile’ (4.3.106-7).  Hotspur’s nightmares, which so worry his wife, are insubstantial visions, and made more so by Hotspur’s airy dismissal of Lady Percy’s worries.  And the rebel is equally quick to dismiss his co-conspirator Glendower’s claims to supernatural powers as so much wind.  The portents that occurred at the Welshman’s birth were for Hotspur merely a ‘kind of colic’ suffered by the earth (3.1.26), while Glendower himself is no more than a windbag: ‘I had rather live / With cheese and garlic, in a windmill, far, / Than feed on cates and have him talk to me / In any summer house in Christendom’ (3.1.155-8).[6]   The insubstantial airiness of Hotspur and his confederates has been well established, then, by the time Falstaff composes his catechism on honour, and the speech is the pin that finally bursts the rebels’ balloon.  The word honour, he says – the groundwork of their action – is nothing but a sign without a referent, an empty cipher: ‘What is honour?  A word.  What is in that word honour?  What is that honour?  Air.  A trim reckoning!’ (5.1.133-5).  The last phrase sums up the fat knight’s attitude: honour will not pay any bills (reckonings), and its thinness makes it Falstaff’s meagre opposite, reduced to non-existence by comparison with his massive girth.  Its lightness betrays the lightness of the insurgents, who aspire or mount upwards to power like the fire and wind that dominate the play’s imagery, and who crack jokes – something Hotspur does in the midst of his most serious business as enthusiastically as Hal or Jack – while leading their followers to a futile and unnecessary death.  If Falstaff is disgraceful in his willingness to lie, bluster, con and steal his way through life, he is of infinitely greater substance or weight – as Cade was, despite his thinness – than the aristocratic men of honour he mocks, who (as Henry IV points out) justify their rebellion with washed out ‘water-colours’ (5.1.80) instead of sound political argument.

But the importance of Falstaff’s role as commentator stems not so much from his sensitivity to the governing metaphors of his time – after all, every character shares this sensitivity to some degree – as from his mastery of the arts of comedy.  He is the greatest improviser in Shakespeare’s work, the greatest springer of outrageous verbal surprises and inventor of fire-new phrases; and these abilities come into their own in the age of Henry IV, when uneasy laughter reigns supreme in England.  This is Shakespeare’s astounding contribution to the legend of Henry V as purveyed in the Famous Victories.  Where the earlier play gives young Prince Harry a virtual monopoly on laughter – a monopoly that is reinforced, not undermined by the admiring mimicry of the clown Derrick – in the Second Tetralogy nearly every major political player has his own peculiar brand of humour, and Falstaff has unrivalled access to them all.  It is this all-embracing comic vision to which Hal gains access by seeking Falstaff’s company; and in acquiring it he gains directorial control over the spectacular theatrical performance that is kingship, outmanoeuvring all his rivals with his carefully cultivated wit.[7]

Joe Armstrong as Hotspur

For Hal’s father Henry IV, the dominance of the comic in England began in the reign of Richard, the ‘skipping King’ who ‘ambled up and down, / With shallow jesters, and rash bavin wits’ until his subjects got sick of his constant playing and got rid of him (1 Henry IV, 3.2.60-1).  But his death did not rid the land of his jesting spirit: Hotspur is one of its inheritors, and the most noteworthy thing about his rebellion, like that of Jack Cade, is how funny it is – and how relentlessly its humour directs itself against the King.  On his first appearance, Hotspur transforms the King’s messenger into a contemptible fop, a ‘popinjay’ whose misplaced arrogance clearly reflects on the master he serves: ‘he made me mad / To see him shine so brisk, and smell so sweet, / And talk so like a waiting-gentlewoman / Of guns, and drums, and wounds, God save the mark!’ (1.3.49-55).[8]  By implication, the King who sent him is equally alien to military action, equally willing to belittle the military achievements of his victorious generals – and equally funny.  The morose Henry IV seems an unlikely candidate for comic status, but Hotspur assures his fellow conspirators that he is a ‘king of smiles’ (1.3.243) whose ‘jeering and disdain’d contempt’ has ‘fool’d, discarded’ and shaken them off (1.3.176-81).  And in saying so Hotspur lays the grounds for treachery and rebellion.  Reducing the King to the stature of a clown makes his overthrow seem easy, a matter of training a starling to shriek ‘Mortimer’ constantly in the monarch’s ear (1.3.221-3), of finding a ‘noble plot’ (1.3.273) – it hardly seems to matter which one – and of hurling yourself bodily into the bloody ‘sport’ of the battlefield (1.3.296).  The Hotspur rebellion is an elaborate joke – a joke that turns sour at the end of the play – and this is what Falstaff’s commentary on it graphically demonstrates.

At each stage of the play the scenes dominated by Falstaff parody the actions of the rebels.  Falstaff’s absurd self-inflation – his claims to heroism at Gadshill and the battle of Shrewsbury, his accusation of Mistress Quickly for stealing valuables he never possessed, even his baseless insults of the Prince in Part Two – exposes the self-inflation of the rebels, whose claims to honour and condemnation of Henry rest on an equally insubstantial basis.  Falstaff is the master of the ‘incomprehensible lie’ or preposterous fib (1.2.181-2), which is, like his body, ‘gross as a mountain, open, palpable’ (2.5.222), but which he can defend or disown with the agility of a master fencer; and the palpable grossness of his lies alerts us to the equal grossness of the rebels’ fabrication of their case against their monarch.  Besides these general resemblances, there are specific echoes of the rebels’ plot in Falstaff’s, some of which we have already noted.  In the second scene, Falstaff asks Hal to change the designation of highway robbers when he is king; instead of thieves, he says, they should be rechristened ‘Diana’s foresters, gentlemen of the shade, minions of the moon’ (1.2.25-6); and his efforts to mythologize their lawlessness are no more absurd than the rebels’ efforts to dignify their cause with resonant titles.  Later in the same scene, Falstaff looks forward to seeing the ‘true prince… prove a false thief’ when Hal takes part in the robbery at Gadshill (1.2.151-2); and in doing so he anticipates the following scene, where the rebels effectively accuse Henry of stealing the crown like a common criminal (1.3.138-57).  Later still, Hal and Poins betray Falstaff after the robbery at Gadshill, robbing him of his ill-gotten booty in the interest of producing ‘laughter for a month, and a good jest for ever’ (2.2.94-5).  Immediately afterwards Hotspur enters reading a letter from an unnamed friend, which tells him that ‘The purpose you undertake is dangerous, the friends you have named uncertain, the time itself unsorted, and your whole plot too light, for the counterpoise of so great an opposition’ (2.4.9-12).  Hal’s plot against Falstaff, designed to deflate his monstrous pretensions, is no lighter than Hotspur’s light plot against his monarch, which aims to immortalize the names of its perpetrators through blood.  And Hal’s betrayal of Falstaff – in Part One, at least – is a harmless one, a source of perpetual merriment to be commemorated in successive generations of jest-books and farces; where Hotspur’s betrayal of his former friend the King, and his later betrayal by his own allies (Glendower, Mortimer and his own father Northumberland fail to join him at the decisive battle of Shrewsbury) have dreadful consequences for his followers as well as for himself.  Hotspur’s lightness, then, is exposed by Falstaff and Hal as a deplorable lapse in comic taste.  And the nastiness of this lapse becomes more obvious as the play goes on: when Hal describes Hotspur telling his wife that killing ‘six or seven dozen of Scots at breakfast’ is ‘a trifle’ (2.4.101-7), for instance, or when Falstaff leads his company of ‘ragamuffins’ to be slaughtered on Shrewsbury field (5.3.35-8).  By Part Two, insurrection is no longer comic – or if it is, the humour it produces is of the grimmest kind, like the horrible joke played on the insurgents by Prince John, who tells them as he sends them to the block, ‘Most shallowly did you these arms commence, / Fondly brought here, and foolishly sent hence’ (4.2.118-9).  At this stage in the Tetralogy, nobody is inclined to laugh at the disastrous shallowness and folly of the ruling classes.

Prince Hal at the Boar’s Head, artist unknown

Like Hotspur’s humour, Hal’s is closely connected to betrayal.  Shakespeare’s contemporary John Donne saw all humour as a form of betrayal: a betrayal of the expectations of its audience, who are surprised or shocked into laughter by its spontaneous reversals of their settled assumptions about what is to come.  Of all humorists in the Second Tetralogy it is Hal who is most concerned to overthrow the expectations of his audience.  His carefully-planned career constitutes an elaborate prank whose punch-line he sets up at the beginning of Part One: in the end, he says, he will ‘falsify men’s hopes’ with his abrupt reformation (1.2.206) and display himself as he is, like the sun breaking through ‘base contagious clouds’ in order to intensify the glory of his half-forgotten form (1.2.193).  That Hal sees this as a joke is confirmed by his description of this future moment as a ‘playing holiday’ (1.2.199) – a break from, rather than a continuation of, the apparent holiday he has enjoyed in Falstaff’s company.  As many commentators have noted, there is something cruel about this well-laid comic plot; and indeed Hal’s laughter at Falstaff’s expense often smacks of cruelty, even in the genial Part One.  He is always insulting, needling or threatening him – most famously when Falstaff tells him that to banish ‘plump Jack’ would be to banish all the world, and Hal replies, ‘I do, I will’ (2.4.473-4).  In response Falstaff is always threatening half-seriously to break off relations between them, like a lover conscious that his relationship is hurtful to his own health and may eventually end his life.  Hal’s father fears that his relationship with Falstaff will do him moral harm, and this conventional view – that the young are always corrupted by the old, never vice versa – is reiterated by Falstaff himself when he plays the role of the King in an impromptu play: ‘pitch (as ancient writers do report) doth defile[.]  So doth the company thou keepest’ (2.4.408-10).  But the Prince proves wholly impervious to Falstaff’s gracelessness, and it is Falstaff who is always the loser by their connection.  ‘Thou hast done much harm upon me, Hal,’ he says in their very first scene together, ‘God forgive thee for it’ (1.2.90-1); and the element of pain in their relationship is later summed up in a phrase of Hal’s: ‘Were’t not for laughing, I should pity him’ (2.2.109).  The power is always on Hal’s side, and it is in teaching him how to take advantage of this power that Falstaff proves most useful to the heir apparent.

Hal’s humour, then, is a calculated matter, and as such it is the obverse of Falstaff’s.  The Prince lays down careful comic plots: the robbery of Falstaff at Gadshill, the plan to expose the fat knight’s hypocrisy by eavesdropping on him disguised as a tapster in Part Two (2.2.163-70) – whereas Falstaff specializes in fashioning spontaneous responses to other people’s machinations.  Jack’s only long-term plan is to get power and influence when Hal inherits the crown, and from the beginning it seems inevitable that Hal will overthrow this plan with a counter-plot of his own, prepared and executed with almost bureaucratic precision.  The Prince displays the same cold, bureaucratic sense of humour when he exposes a conspiracy against him in Henry V by presenting the traitors – his former friends – with scrolls detailing their treason at the point when they least expect it (2.2.13ff.).  In a treacherous world, Hal is the master traitor; though oddly enough, his treason consists in keeping his word rather than breaking it, since honesty is the last thing anyone expects from a ruling class riddled with oath-breakers.

The contrast between Hal’s and Falstaff’s comic styles is at its sharpest in their differing attitudes to time and money.  The rebellion in Part One is sparked off by the rebels’ awareness that the King is irrecoverably indebted to them for supporting him in his rise to power: ‘The King,’ says Worcester, ‘will always think him in our debt, / And think we think ourselves unsatisfy’d, / Till he hath found a time to pay us home’ (1.3.280-2), and the insurgents therefore think themselves obliged to deny him this valuable time, to forestall his attack on them with a speedy attack of their own.  Hal’s aim, then, is to avoid debts as far as he can, to put others in his debt as much as possible, and to pay off any debts he owes instantly, before they can accumulate interest.  At Shrewsbury he tells the rebel Douglas that ‘It is the Prince of Wales that threatens thee, / Who never promiseth but he means to pay’ (5.4.41-2); and sure enough, Hal is always dispensing funds to defray expenses, from the bills Falstaff owes at the Boar’s Head to the money stolen at Gadshill.  This is one source of his power over Falstaff; and it is also a source of his power over Hotspur, who is in Hal’s debt for the advantages he gains by occupying Hal’s rightful position as apparent heir to the kingdom.  The Prince describes Hotspur as his ‘factor’ or financial manager, employed to ‘engross up glorious deeds on my behalf’ until such time as Hal ‘will call him to… account’, when Hotspur will ‘render every glory up, / Yea, even the slightest worship of his time, / Or I will tear the reckoning from his heart’ (3.2.147-52).  For Hal, then, time is money, and even his seeming period of idleness with Falstaff is productive, since his investment in Hotspur accumulates interest in the Prince’s absence.  He has an instinctive grasp of the principles of emergent capitalism that marks him out as a member of a new generation, as Hotspur, with his adherence to a redundant code of chivalry, or Henry, with his abiding conviction of the inherent sanctity of kingship, are not.

Orson Welles as Falstaff, Keith Baxter as Hal

Falstaff, meanwhile, is an inveterate evader of taxes, an accumulator of debts he never means to repay, a shameless sponger.  Time for him is to be stretched and distorted at will, beguiled with amateur dramatics, lost in an alcoholic haze, falsified as he falsifies his age.  ‘What a devil hast thou to do with the time of the day?’ Hal asks him on his first appearance (1.2.6), and in doing so introduces us to a world that is governed by different priorities than those of Henry IV, who in the previous scene was urgently seeking ‘a time for frighted peace to pant’ (1.1.2), but whose efforts to free himself from the tyranny of time are repeatedly frustrated in the course of the two central plays of the Tetralogy.  Falstaff and his tavern, then, are a place of retreat for Hal, an escape from the pressures of the official calendar and a breathing-space in which to draw up a calendar of his own; and both these functions vindicate comedy from the common Elizabethan charge of being a waste of time – the charge Richard II memorably invoked when he said, in the scene of his death, ‘I wasted time, and now doth time waste me’ (5.5.49).  The tavern is also a location in which the nature of capital can be contemplated at leisure.  For Falstaff, money like time is subject to the imagination: insubstantial, governed by no fixed rules, and therefore incapable of getting any kind of hold on him – just as he is unable to get any hold on it.  The credit with which he pays for his drink – credit he derives from his friendship with Hal, whose financial prospects are theoretically boundless – is wholly imaginary, like the money he claims was stolen from him as he slept.  He obtains money by imaginative improvisation: taking advantage of his command of a company in the civil wars to garner cash from prosperous men who are too scared to fulfil their feudal duty of fighting for the crown (4.2.11-47); or collecting from Hotspur the debt he owes to Hal (it is for his non-existent part in killing Hotspur in Part One that he climbs to social pre-eminence in Part Two).  Falstaff matches Hal’s ability to collect debts from other people with a seemingly boundless capacity for escaping ‘shot-free’ (1 Henry IV, 5.3.30) – a skill that helps him to avoid injury from gun-shots in battle as easily as he avoids paying bills in peacetime.  This capacity for transferring one’s obligations, debts and guilt to other people is another thing Hal will find invaluable when he inherits the kingdom, at which point Hal begins to exert all his imaginative faculties, in Falstavian fashion, to offload the obligations, debts and guilt he inherited with it.  But the price Hal pays for acquiring Falstaff’s skills of comic evasion is his casting-off of Falstaff; a deed for which audiences have found it hard to forgive him, despite the seeming success of his efforts to obtain forgiveness for his deeds from heaven.

Adolf Schrödter, Falstaff and Page

NOTES

[1] Valerie Traub compares Falstaff’s body to that of a pregnant woman in Desire and Anxiety: Circulations of Sexuality in Shakespearean Drama (London, 1992), pp. 56-61.

[2] For Falstaff’s class see Paul N. Siegel, The Gathering Storm: Shakespeare’s English and Roman History Plays: a Marxist Analysis (London, 1992), ch. 6.

[3] For the health-giving properties of laughter, attested to by Hippocrates, as well as its ill effects on the body, see Laurent Joubert, Treatise on Laughter, especially Book 3, chs. 14, 15 and 16, pp. 126-33.  The English physician Andrew Borde, who studied like Joubert at the University of Montpellier, thought that mirth could be both therapeutic and dangerous: ‘there be many… myrthes and consolacions, some being good and laudable, and some vytuperable… myrth is when a man lyveth out of det, and may have meate and drinke and cloth, although he have never a peny in his purse; but nowe a dayes, he is merye that hath golde and sylver,, and ryches with lechery; and all is not worth a blewe poynte.’  Elsewhere Boorde opines: ‘A mery herte and mynde, the whiche is in reste and quyetnes,, without adversyte and to moche worldly busyness, causeth a man to lyve longe, and to loke yongly, although he be agyd.  Care and sorowe bryngeth in age and deth, wherefore let every man be mery; and yf he can not, let hym resorte to mery company to breke of his perplexatyves.’  Andrew Boorde’s Introduction and Dyetary, ed. F. J. Furnivall, Early English Text Society (London, 1870), pp. 88 and 300.

[4] For an account of the humours see F. David Hoeniger, Medicine and Shakespeare in the English Renaissance  (Newark, London and Toronto, 1992), ch.5, esp. pp. 102-7.  The chapter culminates in an analysis of Falstaff’s defence of sherris-sack.  The centrality of the humours to the Second Tetralogy is hinted at in the title of the 1600 quarto of 2 Henry IV: The Second Part of Henry the Fourth, Continuing to his Death, and Coronation of Henry the Fifth.  With the Humours of Sir John Falstaff, and Swaggering Pistol.  For metaphors of the body in early modern England see Leonard Barkan, Nature’s Work of Art: The Human Body as Image of the World (New Haven, 1975).

[5] Northumberland uses the same metaphor when he decides to betray his fellow rebels: ‘’Tis with my mind / As with the tide swell’d up unto his height, / That makes a still-stand, running neither way’ (2 Henry IV, 2.3.62-4).

[6] Before the battle of Shrewsbury, too, Hal notes that ‘The southern wind / Doth play the trumpet to his purposes, / And by his hollow whistling in the leaves / Foretells a tempest’ (1 Henry IV, 5.1.3-6) – a bad omen for the rebels who have been associated with air and wind.

[7] Leonard Tennenhouse gives an account of what Hal learns from Falstaff in ‘Strategies of State and Political Plays: A Midsummer Night’s Dream, Henry IV, Henry V, Henry VIII’, Political Shakespeare: Essays in Cultural Materialism, ed. Jonathan Dollimore and Alan Sinfield, second edition (Manchester, 1994), pp. 109-28.  For another perspective see Graham Holderness, Shakespeare Recycled: The Making of Historical Drama (New York etc., 1992), ch. 6.

[8] In this speech, too, air dominates the elements: Hotspur is ‘breathless’ from his  exertions during the battle, and the ‘perfumed’ courtier is offended by the smell of a corpse that comes ‘Betwixt the wind and his nobility’ (I Henry IV, 1.3.31-44).

 

 

Shakespeare’s Merry England, Part 1: The Emaciation of Jack Cade

[Here is the first part of a chapter cut out of my book Shakespeare and Comedy; a lost chapter, then, rather than a lost book. If you like it, print it out and put it between the last chapter of the book and the conclusion!]

For the Elizabethans, the past was populated with laughter-mongers.  Jest-books disinterred the buried careers of the great clowns of English history: Scoggin and Will Summers, John Skelton and Long Meg of Westminster, Dobson, Hobson and the magician Roger Bacon.[1]  These were clever, tough commoners whose brushes with authority made them all too familiar with the insides of prisons and the danger of death, but the political impact of whose escapades was softened by the cushion of intervening generations.  The jest-book gave birth to the historical novel of the 1590s, in which the cheerful Clothier Jack of Newbury has run-ins with Cardinal Wolsey, or the page Jack Wilton finds himself whirling through early sixteenth-century Europe, getting caught up in the wars of the Reformation and fleeing from outbreaks of the Plague.[2]  On the stage, too, non-Shakespearean English history plays were often dominated by wayward comedians, who were either commoners or fraternizers with the commonalty: the Robin Hood figure George a Green, who beats up treacherous lords but remains fiercely loyal to the English throne;[3] Robin Hood himself, who teamed up with George a Green in the 1580s and starred in two tragicomedies of his own in the late 1590s, skirmishing with the despicable Prince John;[4] the parson-highwayman Sir John of Wrotham, who gave Henry V a taste of his own medicine by robbing him on the king’s own highway in Sir John Oldcastle Part 1;[5] and young Prince Harry of England himself, who with his drinking companions bears a striking resemblance to Robin Hood and his merry men in the anonymous Famous Victories of Henry V.  If chronicle histories narrated England’s past as a series of solemn encounters between kings, nobles, and powerful churchmen, the prose and drama of the late sixteenth century put certain lords on intimate terms with their humblest subjects, and thrust clowns ‘by head and shoulders’, as Sidney put it, into the affairs of state that formed the English nation.[6]

Shakespeare’s Falstaff is the prodigal heir to this rich tradition of historical clowning.[7]  As a boy he fought with Scoggin at the Inns of Court (so Justice Shallow tells us) and broke his head; and his fake death at the battle of Shrewsbury is a feat he borrows from Scoggin’s Jests.[8]  He mimics the exploits of Robin Hood on the king’s highway at Gadshill, and clashes with authority, as represented by the Lord Chief Justice, in parodic imitation of the clashes between Skelton or Jack of Newbury and the upstart Lord Chancellor of England, Cardinal Wolsey.[9]  He takes on himself the wilder aspects of Prince Harry’s conduct in the Famous Victories, and shares with Jack Wilton both a skill in impersonating aristocracy and a perception of history as a sustained assault on the human body, bloating, starving, infecting or dealing wounds on its victims in an unholy alliance with succeeding generations of powerful men.[10]

Above all, like these jest-book heroes and theatrical wise-crackers he demonstrates the extent to which laughter permeates history, and the centrality of those things to which laughter is addicted (improvisations, quixotic quests for material gain, hunger, alcohol, sexual voracity, the cutting down to size of misplaced arrogance) to the past and present of Elizabethan England.   Falstaff’s bulky presence – its sheer size a testimony to the awe-inspiring effects of excessive laughter on the human frame [11] – threatens to reshape our perceptions of the ruling classes who dominate the chronicles, confirming for us the absurdity of their priorities, the appalling destructiveness of their swollen ambitions.  If actors are, as Hamlet says, ‘the abstract and brief chronicles of the time’ (2.2.525), Falstaff makes these chronicles look both more substantial and more true to life than other forms of history, written as these are at the behest of monarchs. At the same time, the comic lessons Falstaff imparts to his protégé Prince Hal help to shape him into a powerful and popular monarch, Henry V.  His comic performance instructs the young prince in the art of wittily rewriting the past, an accomplishment that permits him to consolidate his position as king by a deft deployment of the power of comedy.  For Shakespeare as for Marlowe, the humour that transcends class boundaries is a potent political tool, capable of making and destroying kings; and it is in the series of plays known as the Second Tetralogy [Richard II, 1 Henry IV2 Henry IVHenry V], with Falstaff in the middle of them, that he explores this notion most intensively.

Falstaff carries with him strong echoes of Shakespeare’s most disturbing earlier representation of the clown in English history: the rebel Jack Cade from the First Tetralogy (1 Henry VI, 2 Henry VI, 3 Henry VIRichard III), a ferociously anarchic revision of George a Green, who refuses to offer any consistent rationale for the massacres he perpetrates among the ruling classes.  The popular hero George a Green kills nobles who betray their king;[12] Jack Cade betrays his king by killing nobles.  More disturbingly, Jack is a king, in his own imagination and that of his followers, and so confirms the fear of Stephen Gosson that comedy could simulate and perhaps even stimulate insurrection.  He is the clown as king, just as in the Famous Victories young Prince Harry is the king as clown.  Cade’s proximity to this early version of Henry V, written by an anonymous playwright before 1588, is one of the many disturbing elements in his spectacular career, and helps to link him with the Shakespearean Hal’s ambiguous companion Falstaff.

In the Famous Victories, young Prince Harry leads a troupe of riotous knights round the taverns of London and shares with them a radical vision for his future kingdom that anticipates Cade’s plans for it in more ways than one.[13]  Harry and his friends intend to share power equally (‘we would be all kings’ (1.79-80)); to abolish ‘prisoning’, hanging and whipping – at least, for courageous highwaymen, who will instead get royal pensions for their courage (5.10-12); and to turn the prisons into fencing-schools, where Harry will fight a decisive ‘bout’ with the Lord Chief Justice (5.20-2). Later Harry undergoes a conversion to orthodoxy like his Shakespearean counterpart Hal; but the Henry V of the 1580s never forgets his experience as a tavern-haunting prankster.  When the Dauphin of France sends him tennis balls, ‘meaning that you are more fitter for a tennis-court than a field, and more fitter for a carpet than the camp’ (9.112-3), this Harry responds with the jocular bravado made famous by Hal (‘tell him that instead of balls of leather we will toss him balls of brass and iron’ (9.114-6)); but unlike Shakespeare’s hero he repeats the joke throughout his French campaign.  On hearing that the Dauphin will not fight at Agincourt Harry says he is disappointed to have lost the chance to thrash him at tennis (12.24-33); and when a French herald asks him to set the terms of his ransom Harry replies that he will give ‘not so much as one poor tennis-ball’ to free himself in the event of his capture (14.41).  His humorous courtship of the French king’s daughter forms part of an unbroken continuum of aggressive wit that stretches from his tavern days in London to the successful completion of his continental campaign.  Continuity is emphasized by the fact that his actions are periodically echoed by a bevy of insubordinate commoners led by Derick – originally played by the great Dick Tarlton [14]– who starts out as a carrier robbed by one of Harry’s wild companions and ends as the most timorous soldier at the battle of Agincourt.

The Harry of the Famous Victories, then, represents a wish-fulfilment fantasy for regulars at the London taverns.  If he does not fulfil his promise to turn prisons into fencing-schools, he retains his keen appetite for sports, and never loses the sense of humour so essential for a good night on the town.  But he is also a wish-fulfilment fantasy for his father, effortlessly reconciling this role with his reputation as a fun-loving criminal.  Before his death Henry IV foretells the prince’s smooth transition from bold, bad youth to world-class conqueror, predicting that ‘he will prove as valiant and victorious a king as ever reigned in England’ (8.4-5), as if Harry’s adolescent exploits are a form of training for his role as a military leader.  In this early play, laughter is the secret weapon of the English monarchy, binding subjects to the king’s service with ties stronger than those of feudal duty, and forming a powerful element in the rhetorical arsenal with which England differentiates itself from, and seeks to assert its superiority to, its continental neighbours.

In Shakespeare’s 2 Henry VI, by contrast, royalty has signally failed to differentiate itself from the ambitious subjects who seek to acquire it, just as England’s foreign battles have failed either to unite its warring factions at home or to establish its supremacy in Europe.  Jack Cade is the product of a domestic tiff among the English aristocracy that culminates in civil war, and his antics, much more than Derick’s, amount to a devastating critique of the ruling class.  In this, perhaps the first of Shakespeare’s history plays – scholars have argued that 1 Henry VI was written later [15] – the health of the nation can be gauged by the state of relations between the classes, and by the time Cade’s insurrection takes place these relations have effectively collapsed.  Warring nobles articulate their hatred for one another by contemptuous references to poverty or low birth.  York describes the supporters of the King as ‘Pirates’ (1.1.220), the Queen thinks her arch-rival the Duchess of Gloucester a ‘Contemptuous base-born callet’ (1.3.84), and at the point when Cade’s rebellion breaks out Suffolk and Warwick are trading insults concerning one another’s connection to the peasantry (Warwick’s mother, says Suffolk, ‘took into her blameful bed / Some stern untutored churl’, while Warwick childishly retorts that ‘it was thy mother that thou meant’st’ (3.2.211-23)).  The one noble who is loved by the common people – the good Duke Humphrey of Gloucester – is held in contempt for his ‘base and humble mind’ by his own ambitious wife (1.2.62), and eventually murdered by his aristocratic colleagues.  Meanwhile ordinary subjects have their petitions to the King torn up by his unfaithful Queen (‘Away, base cullions!’ (1.3.41)), are reduced to conning one another ‘for pure need’ (2.1.149), and find themselves reluctantly embroiled in the squabbles among the nobles, taking justice into their own hands for want of adequate legal representation in the courts.  An apprentice accuses his master of high treason for saying that the Duke of York has a better claim to the throne than King Henry, and afterwards kills him in a parodic trial-by-combat (2.3.47ff.); and later Suffolk finds himself put on trial at sea by a crew of real pirates, who sentence him to death for crimes against the ‘good Duke Humphrey’, Henry VI, the house of York, and the state (4.1.70-103).  Suffolk is amazed and horrified that such lowly subjects should have power to kill him.  He calls the pirate captain an ‘Obscure and lousy swain’ (4.1.50), leader of a gang of ‘paltry, servile, abject drudges’ (4.1.105), and insists ‘it is impossible that I should die / By such a lowly vassal as thyself’ (4.1.110-1).  But die he does, and his death marks the temporary transference of power in the play from the aristocracy to the commoners: the kind of hierarchic inversion that would have horrified theatre-haters such as Stephen Gosson, John Rankins and Philip Stubbes.[16]  The arrival of the commoners at the heart of history is signaled by the arrival of full-blooded comedy – the theatrical mode associated with commoners – in Act 4 scene 2.  And the mock-king who presides over the play’s comic climax is the cloth-worker Jack Cade.

Cade’s ferocious directness comes as a welcome relief after the stifling spectacle to which we have been subjected before his appearance, in which aristocrats barely conceal their loathing for one another beneath a brittle veneer of courtesy.  Cade never pretends, as they do, to be honourable or consistent. He readily admits, for instance, what the audience already knows, that it was the Duke of York who encouraged him to assert his claim to the throne, and that he invented the details of his royal pedigree for himself.  As he explains this pedigree to his followers, his friends Dick the Butcher and Smith the Weaver undermine it with a running commentary: his father was ‘an honest man and a good bricklayer’ (4.2.37-8), his mother a midwife, his valour is attested by his open practice of illegal beggary, his endurance by his experience of being frequently whipped (presumably as a vagrant; we are later told that he has no home to go to).  But there is something exhilarating about the repeated deflation of Cade’s pretensions. The arrogant nobles who have dominated the play are equally inconsistent in their claims and counter-claims, and much less amusing in their inconsistency.  Cade’s birth and background, matters by which the nobility set so much store and over which they have wrangled since the opening scene of the play, clearly do not matter very much to Cade or his men, and his real claim to deserve a stake in England’s government derives from a much sounder principle: that ‘Adam was a gardener’ (4.2.126), so that all pedigrees in the end are equally ancient, and anyone has an equal right to join the competition to seize the crown.  Besides, Cade’s programme for reforming the kingdom – or refurbishing its garments, as his followers put it, in honour of his trade (4.2.4-6) – is full of disarming details.  Seven halfpenny loaves are to be sold for a penny, there will be a ban on weak beer, all land will be held in common and the monetary system abandoned, everyone will eat and drink at the king’s expense and wear the same clothes so that ‘they may agree like brothers’ (4.2.70-1), the aristocracy and gentry will be wiped out, and in the first year of his reign one of the London fountains shall ‘run nothing but claret wine’ (4.6.3-4).  No noble in the play has a vision to match these.  Indeed, not one of them seems to have imagined instituting any kind of programme for social reform – a failure that Cade’s programme helps to expose, despite its absurdity.  For much of Shakespeare’s audience one suspects the laughter that accompanied Cade’s campaign would have been more delighted than derisory.

At the same time, there is a frightening aspect to Jack Cade.  He is prone to outbreaks of Tamburlainian violence, either sudden – as in the hanging of the Clerk of Chatham and the impromptu killing of a soldier who calls him by the wrong name – or calculated, as in his proposal that ‘there shall not a maid be married, but she shall pay to me her maidenhead ere they have it’ (4.7.114-6).  And his sense of humour is as aggressive as that of the aristocracy he aims to supplant.  After decapitating Lord Say and his son-in-law he has their heads put on poles and gives the order that they be made to ‘kiss’ at every street corner, in token of their supposed conspiracy to surrender England’s possessions in France (4.7.123-9).  Most disturbing of all, perhaps, is the reasoning that underpins his most extreme acts of violence: his rooted antagonism to learning in all its manifestations.  The Clerk of Chatham is executed because he can write his name, while Lord Say condemns himself to death by the very skill with which he begs for mercy: ‘He shall die,’ Cade decides, ‘an it be but for pleading so well for his life’ (4.7.100-1).  Surely, we may think, Shakespeare is here working to undermine any sympathy we might have conceived for the rebels.  As an educated man he could hardly have disagreed with Lord Say’s view that ‘ignorance is the curse of God’ and ‘Knowledge the wing wherewith we fly to heaven’ (4.7.68-9), and Cade himself confesses he feels ‘remorse’ for his determination to execute the apparently deserving noble (4.7.99).  At such times Cade’s behaviour seems to set him on the high road to hell, to which Anthony Iden consigns him at the end of Act Four (4.10.76-8), as if in vindication of the beliefs of the educated middle class (the class that included Erasmus, Luther, Marlowe, Gosson, Jonson and Shakespeare himself) who saw education as the road to personal success, if not to a more widespread social redemption, and ignorance as a vice akin to idleness.

Yet our discomfort with Cade’s aggression is based on shaky premises.  Above all, it relies on the too-easy assumption that everyone in a given historical epoch shares a consistent set of values, with learning, reason and benevolence near the top of the moral hierarchy and rape, murder and betrayal near the bottom.  In 2 Henry VI this assumption has been exploded long before Cade’s arrival by the behaviour of the English nobles, who blithely arrange for the assassination of the innocent Lord Protector, and whose predatory sexual behaviour belies their stated respect for uncontaminated bloodlines.  Cade’s most outrageous actions, in fact, merely parody those of his social superiors.  His announcement that he will have the right to sleep with all virgins in the realm before their marriage revives an old feudal privilege claimed by local lords, as well as further undermining an aristocratic system of heredity that has already been seriously compromised by the aristocrats themselves.[17]  And his contempt for learning echoes his former master York’s contempt for the ‘bookish’ Henry VI (1.1.257).  Cade, however, has far better reason than York for his hostility to letters, since learning has very different connotations for the powerful than for the powerless.  As applied by lawyers, learning makes possible the atrocious situation that ‘parchment, being scribbled o’er, should undo a man’ (4.2.75-6); that judges are able ‘to call poor men before them, about matters they [are] not able to answer’ (4.7.38-9); and that the setting of a seal on a written contract may sign away a person’s freedom (‘I did but seal once to a thing,’ claims Cade, ‘and I was never my own man since’ (4.2.77-8)).  As a remedy for these abuses Cade proposes to kill all lawyers, burn all written records and distribute justice orally: ‘My mouth,’ he says, ‘shall be the parliament of England’ (4.7.12-13).  His oral form of government is no more arbitrary than the regime it replaces; and in proposing it he strikes a blow in the ongoing struggle between the social classes in early modern Europe, exposing the complacency of the intellectual assumptions on which the polemics of the theatre-haters – and indeed the whole humanist educational enterprise on which they drew for their arguments – depended.

Cade’s career is a short one, but even its ending reveals the moral vacuum at the heart of the English hegemony. Lord Clifford seduces his followers to turn against him by invoking the name of the dead national hero Henry V: a warlord whose popularity rested on his appeal to English xenophobia rather than his birthright (from one point of view, his claim to the throne was not much better than Cade’s).  As we have seen, young Henry’s plans for England in the Famous Victories and Cade’s plans for a new commonwealth in 2 Henry VI have much in common – except that Harry renounces his plans when he gets the crown, whereas Cade never ceases to urge his followers to ‘recover your ancient freedom’ (4.8.26-7).  Lord Clifford invokes Henry’s name in a spurious promise to channel the commoners’ aggression into a new assault against their old enemies the French, whose recent successes against the English form part of the general resentment against the current administration.  ‘Will [Cade] conduct you through the heart of France,’ Clifford asks, ‘And make the meanest of you earls and dukes?’ (4.8.36-7).  As the Elizabethan audience knew full well, Clifford has no intention of doing any such thing: the only wars in prospect for the English are civil ones.  The empty call to arms that closes his speech, and to which Cade’s followers respond so enthusiastically (‘To France!  To France!  And get what you have lost!’ (4.8.49)), perfectly demonstrates the lack of a shared set of values or a trustworthy system of communication between the rulers and the ruled in England.  The land is fundamentally split, Henry V and his heroic deeds are dead and buried, and Cade’s efforts to reinvent England on a new model are founded on an accurate perception of its irreversibly damaged current state.

Cade is a home-grown threat, rooted in English soil as firmly as any noble.  Yet he is able to mimic England’s foreign enemies with the same skill he displays in mimicking the aristocracy.  He looks exactly like Lord Mortimer, heir to Richard II, York tells us (3.1.371-2); yet during England’s war with Ireland Cade has often spied on the Irish disguised as a ‘shag-haired crafty kern […] And, undiscovered, come to me again / And given me notice of their villainies’ (3.1.366-9).  England’s most despised antagonists overseas and her most privileged native sons have become indistinguishable in the current climate; and this loss of distinction is underscored when York invades England at the head of an Irish army while announcing himself as ‘England’s lawful king’ (5.1.4).  Clearly England under Henry VI nurtures the seeds of its own destruction.  At the same time, its abundantly fruitful soil is incapable of sustaining all the English equally under the current regime; a fact we are apprised of by the death of Cade.  In a final gesture of defiance the starving rebel confronts a prosperous landowner, Anthony Iden, in his orchard: and the comparison that follows between the landowner’s sturdy body and Cade’s emaciated corpse offers an animated picture of the commoners’ grievances against the wealthy.  ‘Thy hand is but a finger to my fist,’ Iden points out (4.10.47-8), ‘Thy leg a stick compared with this truncheon’ (meaning his own swelling thigh and calf).  The garden of England is only Eden to those like Iden with the means and the name to take advantage of it; everyone else is an enemy of the nation, regardless of nationality.  The rights of men as the common descendants of Adam have no place there, and ‘ancient freedom’ has been replaced with backbreaking ‘slavery to the nobility’ (4.8.28).  If nothing else, the comic mock-history of Jack Cade graphically illustrates the amount of mental and physical ‘labour’ that will be necessary before ‘the public good’ takes precedence over private interest in this divided country.[18]  And after its suppression, the claims of the nobility to be working in the interests of the people of England look thinner and more self-deluding than their comic shadow Cade did at his death.

Cade’s history displays the extent to which the commoner’s medium – laughter – may both comment on and affect the course of public events, despite the claims of the ruling classes to have a monopoly over national politics.  The Famous Victories showed this too, of course, but in 2 Henry VI laughter undermines the monarchy instead of sustaining it.  Cade proves the power of comic fooling both to subvert ‘legitimate’ claims to power and to forge outrageous new ones; and the lesson is taken up after Cade’s death by the funniest and most alarming of Shakespeare’s monarchs, Richard III, who effectively laughs the heads off his rivals as he jests his way to power.  Richard fails, however, to harness popular support as Cade does, so that his reign gets increasingly humourless as it staggers towards its end, unable to sustain the tide of anxious mirth that swept this despot to power with the horrified approval of the playhouse audience.  It remains for Prince Hal to learn the trick of popularity from Cade’s successor Falstaff, whose ample body gives weight and lasting sustenance to Hal’s serio-comic campaign for the crown, as Cade’s skeletal corpse and Richard’s twisted frame were unable to do for theirs.

NOTES

[1] Will Summers – jester to Henry VIII – was celebrated in A Pleasant History of the Life and Death of Will Summers(1637).  The heroic Long Meg, who also lived in Henry’s time, starred in The Life of Long Meg of Westminster (1620).  Dobson the early Elizabethan chorister-cum-practical-joker held court in Dobson’s Dry Bobs (1607), while his contemporary the haberdasher Hobson was commemorated by Richard Johnson in The Pleasant Conceits of Old Hobson the Merry Londoner (1607).  Roger Bacon’s career was recorded in The Famous History of Friar Bacon (1625).  Some of these texts were published in Elizabethan times, although the early editions have been lost; the Famous History, for instance, was the likely source of Greene’s play Friar Bacon and Friar Bungay (c. 1592).

[2] See Thomas Deloney, Jack of Newbury (1597), and Thomas Nashe, The Unfortunate Traveller (1594), both reprinted in Paul Salzman (ed.), An Anthology of Elizabethan Prose Fiction (Oxford and New York, 1987).

[3] Star of the anonymous play George a Green, The Pinner of Wakefield (c. 1590).

[4] The tragicomedies are Anthony Munday, The Downfall of Robert, Earl of Huntingdon and The Death of Robert, Earl of Huntingdon (1598).  Robin Hood fights with George a Green in lines 1049-1106 of the anonymous play: see Joseph Quincy Adams (ed.), Chief Pre-Shakespearean Dramas (London, Calcutta and Sydney, n.d.), p. 708.

[5] See Sir John Oldcastle, Part 1, in The Oldcastle Controversy: Sir John Oldcastle, Part 1; The Famous Victories of Henry V, ed. Peter Corbin and Douglas Sedge, The Revels Plays Companion Library (Manchester and New York, 1991), sc. 10.

[6] The phrase ‘by head and shoulders’ comes from Philip Sidney’s discussion of Elizabethan clowning, An Apology for Poetry, ed. Geoffrey Shepherd, revised R. W. Maslen (Manchester, 2002), p. 112, line 3.

[7] The classic account of Falstaff in the context of Shakespearean comedy is C. L. Barber, Shakespeare’s Festive Comedy: A Study of Dramatic Form and its Rellattion to Social Custom (Princeton, 1959), especially ch. 8.

[8] See W. Carew Hazlitt (ed.), Shakespeare Jest-Books, 3 vols. (London, 1864), vol. 2, p. 155: ‘Scogin seeing that he had lost the favour of  the King and Queene, hee mused how he might be pardoned of the King and of the Queene.  Hee heard say that the King would ride a progress, and at a convenient place, Scogin said to his servant: cast a coverlet over me, and say that I am dead, and say that, at my departure, I desired thee to pray to the King and Queen to forgive me.   When the King and Queene did come by, Scogin lying under the coverlet by the high way, his servant said: here doth lye Scogin dead, and when hee departed, hee prayed both your Graces to forgive him.  Now (said the King and Queen) God forgive him, and wee do.  Scogin start up, and sayd: I do thank both your Graces, and hereafter I will no more displease you: for I see it is more harder to keepe a friend, then to get one.’

[9] For Skelton’s clashes with Cardinal Wolsey see Shakespeare Jest-Books, ed. Hazlitt, vol. 2, pp. 18 and 34.  For Jack of Newbury’s run-ins with the cardinal see An Anthology of Elizabethan Prose Fiction, ed. Paul Salzman (Oxford, 1987), pp. 346-7 and 364-6.

[10] For a comparison of Nashe’s Jack Wilton and Falstaff see Neil Rhodes, Elizabethan Grotesque (London, Boston and Henley, 1980), Part 2: ‘Shakespearean Grotesque: The Falstaff Plays’.

[11] For the notion, derived from the Greek physician Hippocrates, that laughter makes you fat, see Laurent Joubert, Treatise on Laughter, translated and annotated by Gregory David de Rocher (University, Alabama, 1980), Book 3, ch. 13, pp. 124-6.

[12] George kills the traitor Sir Gilbert Armstrong at lines 693-781 of Adams’s edition.

[13] All references are to the edition of The Famous Victories in The Oldcastle Controversy, ed. Peter Corbin and Douglas Sedge.

[14] On Tarlton’s performance in Famous Victories see The Oldcastle Controversy, ed. Corbin and Sedge, pp. 25-8.

[15] For a detailed account of the dates and sequence of the Henry VI plays see King Henry VI Part 2, ed. Ronald Knowles, The Arden Shakespeare (Walton-on-Thames, 1999), pp. 111-21.  See also Stanley Wells, Gary Taylor et al., William Shakespeare: A Textual Companion (Oxford, 1987), pp. 111-3.

[16] For Cade’s relationship to the real fears of the Elizabethan authorities see Annabel Patterson, Shakespeare and the Popular Voice (Oxford, 1989), ch. 2.

[17] See The Norton Shakespeare, The First Part of the Contention of the Two Famous Houses of York and Lancaster (2 Henry VI), 4.7.112n.

[18] Salisbury and Warwick promise to ‘labour’ for the ‘common profit’ of the land at 1.1.180-204.

Imagining England in the Reign of Mary Tudor

The reign of Mary Tudor (1553-8) has never been celebrated for its imaginative writing. Yet perversely enough it has always provided ample material for imaginative rewriting: reinventions of history which seek to construct some sort of orderly narrative out of the chaos of England’s erratic journey towards Protestantism in the turbulent middle years of the sixteenth century. After the accession of Elizabeth I her sister’s reign began to be characterized by Protestants as a period when the religious imagination of the English people temporarily ran amok, drawing them away from the dawning light of the gospel and back to the illusions and conjuring tricks of the Catholic church. And by the early seventeenth century the period was sometimes represented, thanks to the softening mist of nostalgia, as a time of relative innocence, when communities were united in their conviction (however misguided) that they shared the land with benevolent fairies as well as affectionate (sometimes over-affectionate) priests, monks and nuns.

The poet William Warner, for instance, included ‘A Tale of Robin Goodfellow’ in the 1606 edition of his ever-expanding epic Albions England (1606). In this little-known episode from the country’s history, a ‘bare-breeched Goblin’ laments the departure of superstition as the reformed religion took hold, robbing monks and nuns of their livelihood and depriving Robin himself of the dishes of milk and other titbits which had once been considered his due. The over-active imaginations of Marian Catholics, the goblin tells us, meant that for fairies and their infernal accomplices – the Pope and the Devil – it ‘Was then a merry world with us when Mary wore the Crown […] But all things have gone cross with us since here the Gospel shined’. Around the same time the poet-bishop Richard Corbett wrote a celebrated lament for the forgotten customs of the Marian ‘good folk’, such as leaving coins in the shoes of diligent housemaids as a reward for (sexual?) services rendered, stealing away the illegitimate children of priests to be raised elsewhere, or dancing at dawn to cover the tracks of early-rising lovers:

Witness those rings and roundelays
Of theirs, which yet remain,
Were footed in Queen Mary’s days
On many a grassy plain;
But since of late, Elizabeth,
And later, James came in,
They never danced on any heath
As when the time hath been.

For Corbett the departure of the fairies has left a glaring absence of convenient excuses for covering up a man or a woman’s erotic adventures, and an England dominated by eagle-eyed, judgmental Puritans is no happy substitute. Corbett is all for the imaginative rewriting of the history of sex between consenting adults, and the relaxed attitude to the sins of the body which such retouching of past misdemeanours would seem to imply.

Corbett’s poem is of course well known, especially to fans of Rudyard Kipling. Less well known is the fact that during Mary’s reign, too, the struggle between Catholics and Protestants was often represented by its chroniclers – both authorised and unofficial – as a heated struggle for the imaginations of English subjects. Like More and Tyndale in their controversy over the translation of the scriptures into English, each side accused the other of fabricating fictions in their efforts to gain control of people’s minds (indeed, the More/Tyndale controversy was reanimated by the publication in 1557 of William Rastell’s edition of Thomas More’s Workes). The Protestant martyrologist John Foxe encapsulates these accusations and counter-accusations in an anecdote he tells about ‘A false fearful imagination of fire’ at Oxford University, in which academics assembled to hear the recantation of a Protestant colleague in St Mary’s church are thrown into panic by a false alarm:

And as in a great fire (where fire is indeed), we see many times how one little spark giveth matter of a mighty flame, setting whole stacks and piles a burning: so here, upon a small occasion of one man’s word, kindled first a general cry, then a strong opinion running in every man’s head within the church, thinking the church to be on fire, where no fire was at all. Thus it pleased Almighty God to delude these deluders: that is, that these great Doctors and wise men of the schools, who think themselves so wise in God’s matters as though they could not err; should see, by their own senses and judgments, how blinded and infatuated they were, in these so small matters and sensible trifles.

The incident offers an elaborate comic allegory, scripted by God himself, of the ‘imaginations’ or delusions spun by Catholic apologists as they labour to ignite an ersatz pentecostal flame in the English church, whether by the force of their own ‘strong opinion’ or by burning Protestants. Imaginary fires like these illuminate the landscape of Marian England alongside real ones, drawing the bewildered populace (so the propagandists would have us think) first to one faith, then to another, and threatening to render the light of religious truth invisible forever.

But the workings of the imagination were also taken to be central to political struggles throughout the period. George Cavendish’s celebrated Life of Wolsey (c. 1553-8) documents Cardinal Wolsey’s efforts to discredit attempts by his enemies to sow suspicious ‘imaginations’ about him in the head of his master, Henry VIII. As his fall is engineered by noblemen close to the king, the Cardinal’s only hope of overcoming ‘the enemy that never sleepeth, but studieth and continually imagineth, both sleeping and waking, my utter destruction’ is to get close to the king himself, ‘that my truth should vanquish all their untruth and surmised accusations’. Cavendish’s Life itself constitutes a sustained effort to counteract what he calls the ‘untrue imaginations’ about the Cardinal set forth in ‘divers printed books’ which have been circulating since his death. William Roper’s Life of Thomas More (c. 1553-8) similarly records the systematic exclusion of the titular Lord Chancellor from the king’s presence, which lends credibility to the ‘slanderous surmises… imagined against’ him by his detractors in his absence. But unlike Wolsey, More collaborates with his enemies in engineering his own withdrawal from political action. The court is a glamorous world of fictions to which his skills as a performer initially grant him access, and his one hope of establishing himself as custodian of the truth is to mortify his imaginative faculties – or at least, to ‘dissemble’ them. In Mary’s reign, by contrast, religious dissidents who did not aspire to the martyr’s crown found that the safest place to practise their religion was as close as possible to the Queen’s person. Edward Underhill, known as the ‘hot gospeller’ for his combative Protestantism, tells us in his autobiography (written after 1561) that for members of the true religion ‘there was no such place to shift [hide] in, in this realm, as in London, notwithstanding their great spial and search; nor no better place to shift the Easter time [i.e. to avoid taking the Catholic mass] than in Queen Mary’s Court’. The closer you were to the body of a Tudor monarch, the less the imagination of the monarch could be turned against you by your enemies, and the less vulnerable you were to accusations of ‘imagining’ or plotting against the prince’s person.

Thomas Wyatt the Rebel

Conversely, the further you were from the monarch’s body the more vulnerable you were to slander, suspicion and rumour. The focus of Mary’s fears was the provinces: from nearby Kent, where Wyatt’s rebellion of 1554 broke out inflamed by reports ‘maliciously imagined and blown abroad’ of an invasion by a Spanish army, to far-off Wales and Cornwall, which were expected to rise in support of the rebellion and which remained the focus of rumours of new rebellions throughout the remainder of Mary’s reign. John Proctor wrote his Historie of Wyates Rebellion (1554), he tells us, partly to discredit the ‘sundry tales thereof… far wide from truth’, and partly to vindicate his Kentish fellow-countrymen from the ‘notable infamy’ which the rebellion had brought them. The fear of insurrection in the provinces was by no means pure paranoia on the part of Mary and her supporters. The great historical verse miscellany The Mirror for Magistrates (1555-1610) – especially those parts of it known to have been composed during or shortly after Mary’s reign – suggests repeatedly that the further you live from London the more likely you are to succumb to dynastic fantasies, based for the most part on what Cavendish calls ‘dark and strange prophecies’ and the ‘imaginations and travailous business’ undertaken either to prevent their fulfilment or to bring it about. In the Mirror the fifteenth-century Welsh prince Owen Glendower bases his claim to the throne of England on the compositions of irresponsible Welsh prophet-bards, while the Cornish blacksmith who led the 1497 ‘An Gof’ rebellion – and whose insurrection prefigures both the Prayerbook Rebellion of Edward’s reign and the Wyatt Rebellion of Mary’s – similarly bases his claim to princely status on the vatic encouragements of ballad-mongers. William Baldwin, the first editor of the Mirror and its principal poet, is of course eager to insist that these examples demonstrate the difference between imagined pretensions to monarchic supremacy and real ones. But as claims to power multiply in the Mirror’s successive tragedies, the possibility of distinguishing between authentic pretensions and imagined ones, between the genuine dynasties traced by historians and the fantastic ones forged by heralds, grows ever more remote. The problem is summed up by Fulke Greville in his account of Sir Philip Sidney’s letter to Elizabeth I on the subject of her proposed marriage to the Catholic Duc d’Alençon in 1579. For Sidney, Mary’s marriage to Philip II of Spain offers the best of reasons for avoiding such another match between an English Queen and a Spanish monarch, working as it did solely in the interests of King Philip, who hoped by this means to ‘possess this diversly diseased estate with certain poetical titles of his own’. In Mary’s time, according to Greville, plots to seize power were evolved in the diseased imaginations or poetic fancies of ambitious men, generated by the faculty which also generates verses, monsters, insurrections, false genealogies and heresies of all kinds.

From Beware the Cat

The poets of The Mirror for Magistrates would have agreed with Greville. In unfolding the tragedies of princes and great men, they lay heavy emphasis on the origins of these tragedies in the wayward imaginations of their protagonists: their dreams, hopes, fears, delusions. They also locate these origins at or beyond the margins of the Tudor demesnes, from Wales and Cornwall to Ireland, where the elder Mortimer meets his end, and Scotland, where James IV unlearns all the civility he acquired during his childhood residence in England, regressing rapidly to Celtic treachery and barbarism. From the margins imagined sedition spreads with unnerving rapidity to the centre, in the form of gossip, rumours, fake news, scaremongering. William Baldwin records the spread of superstition and violence from Ireland to central London in his late-Edwardian prose fiction Beware the Cat (c. 1553), just as John Proctor records the successive waves of rumour – that the Spaniards had invaded, that Wyatt had taken London – which almost secured the success of Wyatt’s rebellion. At the margins, too, that imaginary entity the nation could be appropriated with alarming ease by factions hostile to the government. When marching through Kent, Wyatt appealed for support from all true Englishmen; the band of ‘white-coats’ who joined his forces offered the statement that ‘we are all Englishmen’ as explanation for their decision; while the later insurrectionist Thomas Stafford, who seized Scarborough castle in 1557, called on the English to overthrow a ‘most unworthy queen’ who had ‘forfeited the crown; because she, being naturally born half Spanish and half English, sheweth herself a whole Spaniard in loving Spaniards and hating English, enriching Spaniards and robbing English’. During the Marian period the task of imagining the English nation achieves a political significance and urgency it had never possessed before, as a result both of the counter-Reformation and of Mary’s Spanish marriage: and a great many of the texts it generated take the concepts of England and Englishness as their themes.

Image from The Spider and the Fly

As the historian Whitney Jones has pointed out, this is also a period when literature of all kinds is much preoccupied with social and economic reform, focused in particular around the concept of the Tudor Commonwealth. With the partial exception of Tottel’s poetic Miscellany (1557), every major ‘literary’ text of Mary’s reign addresses social and economic problems and their solutions, from Nicholas Udall’s Christmas play Respublica (1553) to John Heywood’s fabular epic The Spider and the Fly (1556), from William Baldwin’s satirical elegy The Funerals of King Edward VI (1553) to the conduct-book The Institution of a Gentleman (1555). In each case the imagination is taken to be the faculty responsible for social and economic abuse: the imagination which enables the vice Avarice and his cronies to adopt new, misleading names in Respublica, and so to beguile the Lady Commonwealth into allowing them to take control of her affairs: the imagination which seduces the aristocracy and gentry in The Institution of a Gentleman into idleness, lust and tyranny; the imagination which, in Baldwin’s poem, gives the aristocracy such inflated self-esteem that Death has difficulty in distinguishing King Edward’s palace from the palatial residences of his subjects as he seeks out the boy-king to punish him for the sins of his people. At one point in Heywood’s The Spider and the Fly a fly caught in a spider’s web changes places with the spider in order to understand his point of view as an aristocratic oppressor of the commons. They agree, as the prose argument puts it, ‘to change places (each for the time) to imagine and set forth other’s part the best they can […] Wherein the fly anon is so allured to pride and ambition in occupying (for the while) the spider’s stately place, that he at last with an oath affirmeth that spiders are owners of all windows’ – that is, that the aristocracy has a God-given right to the possession of all the land in a commonwealth. Power or stateliness is a mind-altering drug, inducing in its possessor the condition of imaginative ‘vainglory’ which Marian writers – like their Edwardian predecessors – take to be the presiding vice of the time.

As I’ve argued elsewhere, the epistolary prose fiction The Image of Idleness (1556) constitutes an extended examination of ‘vainglory’ as it is manifested in one of Mary’s humbler subjects, an elderly gentleman-soldier named Bawdin Bachelor who wants a wife but fails to persuade any woman to marry him. He combats the depression brought on by successive rejections by immersing himself in a fantasy world, designed to boost his flagging self-esteem in the face of adversity:

For doubtless this transitory life is entangled with so many kinds of misery, that unless a man will flatter himself with some kind of vain glory or, contrary to the lively eye of his reason, delight or rejoice in some one trifle or other, the calamity and unquietness thereof will so fret nature that none shall be able to live out half their natural course.

I take The Image of Idleness to be a satire on contemporary social and religious mores, identifying the centrality of fantasy, dissimulation and flattery – especially self-flattery – to Marian culture. The Marian government and the church it sponsors depend for their survival on cultivating the fertile imaginations of their subjects: and the anonymous author of this epistolary narrative subjects the workings of contemporary ideologies to the same witty analysis as Erasmus practised in The Praise of Folly, a book on which The Image of Idleness is partly modelled.

A groat from the reign of Mary Tudor

If I were to write a book on the literature of Mary Tudor’s reign, then, it would have the title Marian Imaginations. It would concern itself with the workings of the English imagination in and after the reign of Mary Tudor: from the imagination of the rebel, who spawns fear and paranoia in the provinces for his own ends, to that of the Queen herself, whose imaginary pregnancies bodied forth her desire to alter the course of English history; from the role of the imagination in the story of England as recorded in Cavendish’s Life of Wolsey, William Baldwin’s Mirror for Magistrates and Joh Proctor’s History of Wyatt’s Rebellion, to the imaginative rewriting of Mary’s reign by Elizabethan historians such as John Foxe. It would end by demonstrating the profound effect of these various Marian and post-Marian explorations of the imagination on the better-known products of the writerly imagination in the reign of Elizabeth I.

The book will never, I think, be written – at least by me; but as a curious missing link in the history of the human imagination it would, I think, have been well worth writing. So I’m duly placing it here, in one of the obscurer libraries of the City of Lost Books. If you find it here, feel free to rewrite it for yourself…

 

Aspects of the Early Modern Fantastic in Shakespeare’s The Tempest, Part 2.

[This is the second part of a paper I gave this week at the University of St Andrews. The first part considered some general approaches to the early modern fantastic. The second part considers Shakespeare’s The Tempest as an example of what might happen if we applied the modern concept of fantasy to an early modern work of art.]

Giorgione, The Tempest (c. 1508)

The Tempest is set on a non-existent island like More’s Utopia, which combines characteristics of the East and West Indies with the epic resonances of the Mediterranean islands. It’s a secondary world, then, which can’t be placed by conventional means; we are given no help in locating it on the global map. Prospero, the exiled Duke of Milan, reached it in a boat without sail or oar, like a medieval saint. The men who banished him arrived there twelve years later in a more conventional vessel, steered in that direction by the agency of Christian Providence, or pagan Fortune, or Prospero’s magic, we never know exactly which. Our ignorance, even by the end of the play, of the precise mechanisms by which any of these people reached the island makes the story look like modern fantasy. Science fiction would invite us to speculate as to how it was done, while Shakespeare only asks that we consider the strangeness of the eventuality, and the equal strangeness of the nameless place where they come together.

On the island, the usual rules of the world as we know them no longer apply. The laws of nature don’t obtain: water doesn’t moisten clothing, salt doesn’t stain, dead men come back to life, old pagan myths and folkloric superstitions turn out to be true, in open defiance of the English sceptic Reginald Scot. Social rules, too, get flouted. Sailors dismiss the commands of their royal passengers, servants become kings, slaves liberate themselves, political and poetic thoughts keep surfacing at awkward moments, sometimes articulated by commoners in blank verse, sometimes expressed by slaves in song or story. All these things violate decorum, the theatrical convention whereby the social elite get to think, speak, act and even dream in a more exalted fashion than their inferiors. In these ways, too, the work plays out like modern fantasy fiction, which makes up new rules or revives old ones in the interests of representing alternative ways of living never encountered in the historical record, though often yearned for.

Isabelle Pasco as Miranda, John Gielgud as Prospero, in Peter Greenaway’s movie Prospero’s Books

The play makes much, too, of the mechanics of storytelling. It begins, after the initial flurry of attention-grabbing special effects that evoke the tempest of the title, with an old man settling down to tell his daughter a story. Further stories get told in the course of it, or acted out by supernatural performers, and it ends with the promise of further stories still, told over several nights like the traditional winter’s tales of an English Yuletide. The stories are as full of wonders as any traveller’s lying narrative or old wives’ tale; yet some of them, at least, get supported by the empirical testimony of the listeners’ senses. Impossibilities become possible within the island’s limits, persuading even hardened cynics to keep an open mind about the extravagant anecdotes they may have heard in the past or may hear in future.

In its hospitality to wonders Shakespeare’s island recalls the Fairy Land of Spenser, Sidney’s Arcadia or More’s Utopia; but where it differs from those other non-existent places is in the extent to which its ownership and identity are contested, as if in mimicry of war-torn Europe or the lands and trade routes throughout the world over which the European powers were also squabbling. The island’s namelessness is a symptom of its contested ownership. A name would give it specific cultural and historical associations; instead it is firmly marginal, set beyond the borders of the known or spoken, the mapped or painted. Many of its occupants arrived there against their will, by compulsion or chance: the pregnant Sycorax, banished for witchcraft from Algiers; Duke Prospero, a political exile from Milan, with his infant daughter; a load of shipwrecked Neapolitans. As a result, the play that contains the island presents itself as an excursion to the periphery, an unplanned trip to a strange location something like Sidney’s journey of discovery into the world of poetry or fiction as he describes it in the Apology. Sidney claims in his essay that he never meant to be a poet, summing up his leisure-time literary activities as an ‘unelected vocation’, which suggests a certain transgressiveness about them, since they represent a time-consuming departure from the more serious work in the world for which he was divinely ‘elected’ by a Calvinist God (though of course the term ‘unelected’ could just as easily mean simply ‘unchosen’ or ‘inadvertent’).[1] In the same way, Prospero became a scholar-magician by accident rather than design. As a young man he dedicated himself to his books at the expense of his dukedom, expecting the country to run itself – or rather, expecting his brother to run the country – and then thoroughly outraged when that same brother made himself popular enough to raise a ‘treacherous army’ strong enough to oust him from the throne (1.2.128).[2] Prospero’s exile was an effect of clashing perspectives: the Duke’s assumption that he was the natural born ruler of Milan, and his brother’s that running the country gave him the right to rule it as well, a perspective the Milanese people seem to have shared.

Michael Clark as Caliban in Prospero’s Books

Accordingly, the island too is a place where perspectives clash. For Prospero the place represents a sign that ‘Providence divine’ (1.2.159) shares his opinion as to how badly he has been treated, and that it will support him in regaining his inheritance – a perspective that seems to be confirmed by the arrival off its shores of his brother and the man who helped him seize the dukedom, the King of Naples. For the sole surviving native of the island, Caliban, on the other hand, Prospero is as much of a usurper as Prospero’s brother was for Prospero. And as the ship’s occupants land in scattered groups on the island’s shore, each group takes a different view of who should rule it and how it should be ruled. A single perspective on the appropriate government or governor for this particular patch of ground simply doesn’t exist; and this of course casts doubt on Prospero’s claim to have a unique arrangement with Providence that his hereditary rights will be restored to him.

For one thing, Providence is a Christian concept and there are competing religious affiliations on the island. Caliban worships Setebos, and is still worshipping that god in the final act when he swears to ‘be wise hereafter, / And sue for grace’ (what, I wonder, might the ‘grace of Setebos’ consist of?) (5.1.294-5). At one point Caliban takes Stephano for a god, but returns to his old faith when Stephano fails him. Prospero himself repeatedly links his magic art with varieties of paganism: ‘bountiful Fortune’ (1.2.178), who may or may not be the same as Providence; the Greek and Roman gods he invokes in the masque he puts on for Ferdinand and Miranda, deities whose blessings (and potential curses if the pair disobey his ‘hests’) he evidently expects will have a material effect on the young couple; rural English folkloric beliefs in the ‘elves of hills, brooks, standing lakes, and groves’ (5.1.33). Meanwhile other people on the island can imagine other theological arrangements. The spirit Ariel describes himself and his fellow spirits as ‘ministers of Fate’ (3.3.61), which he puts in the hands of what he calls the ‘powers’ (3.3.73) – perhaps again the classical gods, since he is disguised at this point as a classical Harpy, though their namelessness makes them a kind of placeholder for whatever deities you choose to put there. And Miranda sees her father Prospero as a deity. When she thinks he has sunk the ship and drowned its crew she tells him:

          had I been any god of power, I would
Have sunk the sea within the earth, or ere
It should the good ship so have swallowed, and
The fraughting souls within her. (1.2.10-13)

Her implied recognition of her father as a ‘god of power’ here is importantly qualified by her ability to imagine herself in his position, with the same magical abilities; and this capacity of people to imagine themselves as other people, and in particular as other people of power, is precisely what led to the supplanting of Prospero by his brother as Duke of Milan, and what threatens to supplant him on his island.[3]

Mark Quartley as Ariel

The same capacity to imagine himself as someone else is shared by Prospero’s slave-spirit, Ariel. When he reports the impact of Prospero’s magic on the human castaways from the ship he tells his master that ‘Your charm so strongly works ’em / That if you now beheld them, your affections / Would become tender’; and when Prospero asks ‘Dost thou think so, spirit?’ Ariel replies ‘Mine would, sir, were I human’ (5.1.17-20). Ariel, then, here balances Miranda at the beginning of the play, who visualized herself as a godlike alternative Prospero; though the spirit whose power the magician exploits doesn’t see him as godlike. For Ariel, Prospero is human, and the question of who is human in the play – Caliban is variously referred to as beast, devil or man – opens up a range of other perspectives as to the possibilities available to the occupants of Shakespeare’s island. If Prospero is neither a god nor the darling of a Christian Providence then he can claim no divine sanction for what he is doing; his dream of avenging the perceived wrong done to him becomes a personal fantasy, a quirk or daydream, which would be on a par with everyone else’s daydreams if it weren’t for the power he wields – which is itself entirely dependent on the powers of the slave-spirit Ariel.

The capacity of characters to imagine themselves taking each other’s places becomes increasingly apparent as the play goes on. In many cases, as with Prospero’s brother Antonio and Caliban, their claim to have the right to take someone else’s place is pretty good. Caliban’s foiled attempt to rape Miranda is an example; it’s a bid to confirm his claim to the island by ‘peopling’ it with his offspring, begotten on the body of the only child of the colonial oppressor (1.2.352-3). In this it directly equates to Prospero’s plans to regain his power in Italy through his daughter’s marriage to Ferdinand, son and heir to the King of Naples. The difference, of course, is that Miranda is in love with Ferdinand (something Prospero may have engineered with his charms), whereas she never saw Caliban as a potential sexual partner. But what would have happened if she had not been in love with the Neapolitan prince? In that case she might have found herself in the position of Alonso’s daughter Claribel, who was married to the King of Tunis against her will (this is the traitor Sebastian’s assertion, but no one denies it). Forced marriage is rape, so Caliban’s intention to rape Miranda could well have been a behaviour he has imbibed from the values of his Italian tutors. He did it because he imagined himself in Prospero’s place as king of the island, with heirs enough to found a dynasty. The ‘darkness’ of Caliban’s nature, as Prospero calls it in the final act (5.1.275), reflects the darkness of Prospero’s – just as Miranda’s perception of Caliban may well have been based on her father’s view of him.

Ferdinand and Ariel, by Sir John Everett Millais (1850)

Other characters who legitimately imagine themselves in the positions of others include young Ferdinand, Alonso’s heir, who on arriving at the island believes his father to be dead and so assumes the title King of Naples. Ariel encourages this inadvertent usurpation by singing him a song about his father’s corpse – ‘Full fathom five thy father lies’ – which imagines the royal body being supplanted or replaced by submarine wildlife: ‘Nothing of him that doth fade / But doth suffer a sea-change / Into something rich and strange’ (5.2.399-404). Yet Prospero, who put Ariel up to this exercise in misdirection, pretends to believe that Ferdinand has committed an act of treason in claiming the Neapolitan crown. He enslaves him as he enslaved Caliban and Ariel, and in the process again casts doubt on the validity of his own claims to stand for justice, whether human or divine.

Stephano (centre), Trinculo and Caliban, by Johann Heinrich Ramberg (early 19th century)

More surprisingly, Stephano the drunken butler has an excellent claim to imagine himself king of the island when we first meet him. Like Ferdinand he assumes that the rest of the crew were drowned in the tempest of the opening scene; and after drinking from his bottle – itself serving as a replacement for the Bible that confirms a subject’s oath of allegiance and a monarch’s obligation to serve the people (‘kiss the book’, 2.2.131) – the legitimate ruler of the island, Caliban, swears fealty to him. So Stephano’s statement at the end of his first scene in the play, ‘Trinculo, the King and all our company else being drowned, we will inherit here’ (2.2.174-5), has a far stronger mandate than Prospero’s claim to be monarch of Caliban’s country. In addition, his rule is far more egalitarian. He begins by thinking of enslaving Caliban, just as Prospero did; but he quickly sets Caliban free and begins to elevate him in his commonwealth, first to the position of his ‘lieutenant’ (3.2.14), who will not be allowed to ‘suffer indignity’ (3.2.35), and then to his ‘viceroy’ (3.2.106), whose status equals that of Trinculo, and whose title puts him next in line to the king himself (a viceroy takes the king’s place at official functions, becoming him, so to speak, when he is unavailable). Ironically, it’s only Prospero’s belongings that break up this miniature utopia of liberated servants, and their quasi-egalitarian philosophy remains undamaged by their humiliation and capture. In Act III they sing a round declaring that ‘Thought is free’ (3.2.121) – whose ribald primary sense doesn’t mask its political application;[4] while in the final act Stephano is still proclaiming his commitment to social equality: ‘Every man shift for all the rest, and let no man care for himself; for all is but fortune. Coragio, bully-monster, coragio!’ (5.1.256-8). Prospero’s repeated promises of freedom to his slave spirit Ariel – whose implementation gets deferred till after the play’s ending – sound profoundly unconvincing by comparison.

Chris Cooper as Antonio, Alan Cumming as Sebastian in Julie Taymor’s movie of The Tempest

The most extended meditation on imaginative replacement of others occurs in Act 2 scene 1, where we first meet Prospero’s usurpers – Alonso, Antonio, Alonso’s brother Sebastian – along with his benefactor, Gonzalo. In this scene Gonzalo playfully imagines himself as the replacement king of the island, inadvertently deposing Caliban and Prospero from power in his mental exercise as well as his monarch, Alonso, and that monarch’s next of kin (Ferdinand, Claribel, Sebastian). Like Stephano’s, Gonzalo’s lighthearted act of treason enables a utopian alternative island to form temporarily in the mind’s eye of the audience, a place where ‘All things in common Nature should produce / Without sweat or endeavour […] To feed my innocent people’ (2.1.155-60). Sebastian and Antonio mock the inconsistency of Gonzalo’s fantastic commonwealth, since like Stephano he plans to be king of this egalitarian paradise, but their scorn may also stem from the fact that their own views on supplanting other rulers have no truck with equality. As Antonio seeks to persuade Sebastian to kill his brother in his sleep – imaginatively replacing the king’s sleeping body with a dead one – he points out how he himself has flourished since replacing his brother: ‘look how well my garments sit upon me, / Much feater than before. My brother’s servants / Were then my fellows; now they are my men’ (2.1.267-9). In this their views on governance are close to Prospero’s, who never seems to have thought to make his fellow human beings coequals with him in his new home; and like Prospero they take themselves to be the darlings of a Fortune who has given them the opportunity to make their imaginings real by putting Alonso and his lords to sleep, leaving them at the mercy of the would-be usurpers’ blades.

Tom Conti as Gonzalo in Julie Taymor’s The Tempest

It’s in this scene, Act 2 scene 1, that the island seems first to be identified as a fantastic space, where the impossible is made real. Interestingly, its most fantastic property is that it can be seen in such radically different ways by different people; in other words it’s a contested imaginative location from the very beginning. For Gonzalo and the young courtier Adrian it’s a lush paradise ‘of subtle, tender and delicate temperance’ (2.1.41-2), where clothes miraculously dry shortly after immersion, while for Antonio and Sebastian it’s a marshy desert and their clothes remain soaked and salt-encrusted. Interestingly, there’s no way of knowing whether the two factions of courtiers are really having different experiences; it’s perfectly possible that Gonzalo and Adrian are only claiming the island is pleasant to cheer up the king, or that Antonio is exaggerating the wretched state of his clothes. But in describing the island as paradisal Gonzalo is exercising the prerogative of poets, as Sidney saw them: makers of fictions whose imaginings could bear substantial fruit in the conduct of those who listened to them. One such poet was the classical musician Amphion, who raised the walls of Thebes with the power of his music; and Gonzalo’s earlier imaginative transformation of Tunis, where Claribel’s recent marriage took place, into the legendary city of Carthage (he tells Adrian that the two places were the same) changes a disastrous liaison into the promise of future cultural glory (Carthage was both a great civilization in itself and a staging post on the road to the founding of Rome). In doing so, Antonio and Sebastian claim, he accomplishes miracles greater even than Amphion’s elevation of the walls of Thebes:

Antonio: His word is more than the miraculous harp.
Sebastian: He hath raised the walls, and houses too.
Antonio: What impossible matter will he make easy next?
Sebastian: I think he will carry this island home in his pocket, and give it his son for an apple.
Antonio: And, sowing the kernels of it in the sea, bring forth more islands. (2.1.83-9)

The vision of further paradisal, temperate islands springing up all over the ocean reaffirms Sidney’s conviction that the poet could change the world by summoning up attractive impossibilities. This impression is only reinforced when Gonzalo goes on to imagine the island as a political utopia. For Protestants, the age of miracles is over; but for Sidney the best secular poets may have taken on the mantle of the Catholic miracle-workers, and Gonzalo’s view of Prospero’s atoll as a place where poetic wonders can be made real seems to be confirmed by subsequent events.

This happens in a number of ways. First, Miranda discovers in the castaway Ferdinand the ideal man she has always dreamed of:

          I would not wish
Any companion in the world but you,
Nor can imagination form a shape,
Besides yourself, to like of. (3.1.54-7)

This is hardly surprising, as Prospero points out, given her lack of experience; but the more experienced Ferdinand shares her view that he has met an ideal human being: ‘you, O you, /So perfect and so peerless, are created / Of every creature’s best’ (3.1.46-8). Both Ferdinand and Miranda, in other words, each fulfil the function of poetry according to Sidney, in offering the reader an ideal by which to be stirred to emulation. Again, this exchange could be dismissed as the habitual hyperbole of all new lovers. Later, however, the island also confirms the more extravagant impossibilities of travellers’ tales, as strangely shaped spirits serve food to the courtiers and the sceptics Antonio and Sebastian find themselves converted to belief in the most ridiculous of reports:

          Now I will believe
That there are unicorns; that in Arabia
There is one tree, the phoenix’ throne; one phoenix
At this hour reigning there. (3.3.21-4)

The spirits’ kindness beyond the customary practices of human beings extends the impossibilities they stand for to include Gonzalo’s utopian vision (and suitably enough, it’s Gonzalo who remarks on it). Meanwhile the island’s native, Caliban, who was capable of perceiving the island as a marshy wasteland when he was cursing his owner (‘All the infections that the sun sucks up / From bogs, fens, flats, on Prosper fall’, 2.2.1-2), treats Stephano and Trinculo to a vision of its paradisal aspect: ‘the isle is full of noises, / Sounds and sweet airs that give delight and hurt not’ (3.2.133-4). Caliban associates these ‘sweet airs’ with the pleasure of dreaming – a state that makes him forget his enslaved condition and find himself a king once more – so we can’t be certain they’re anything more substantial than psychological projections. His account of these happy moments, though, reinforces our sense of the island as a place that generates Sidneian poetic fantasies in astonishing abundance; and it also indicates, as Gonzalo’s perspective did, that not all these fantasies are conjured up by its self-styled ruler, Prospero. It’s hard to imagine that the ‘sounds and sweet airs’ Caliban experiences were provided for his delectation by Prospero’s orders. Throughout the play, Ariel shows an independence of mind that allows him to improvise wonders when they occur to him – like Robin Goodfellow in A Midsummer Night’s Dream, as Frank Kermode has pointed out.[5] Could the other spirits have done the same in blessing Caliban’s rest, by virtue of the inhuman kindness Gonzalo notes in them?

Helen Mirren as Prospera in Julie Taymor’s The Tempest

The greatest miracle the island produces is a radical change of heart in Prospero himself. The process of change begins after a feast of impossibilities he has himself served up – a masque performed by spirits, featuring non-existent classical deities. As the masque comes to a sudden close, Prospero suddenly seems to realize that he is not the only human being capable of conjuring up wonders; that they are, in fact, integral to human experience, since even the most extraordinary and seemingly permanent structures we encounter in our lives have the evanescent quality of dreamscapes:

The cloud-capped towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a wrack behind. We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep. (4.1.152-8)

This new perspective is precipitated by an abrupt recollection of Prospero’s would-be usurpers, Stephano, Trinculo, and that master of dreamscapes Caliban – drunkards whose magic bottle has liberated their imaginations from submission to conventional hierarchies. Their challenge to his hierarchical point of view would seem to be what yields his famous vision of transience, which makes castles in the sky of substantial structures and associates them with dramatic performances (‘pageants’) as well as dreams. The magician remains unable to imagine things from Caliban’s point of view – he continues to typecast the islander as a ‘born devil’ till the end of the play – but not long afterwards he succeeds in seeing things from the perspective of another slave of his, Ariel. When the spirit tells him he would pity the distraught courtiers if he were capable of human pity, Prospero recalls his own capacity for the sympathy – the act of putting oneself in someone else’s place – that so many of the other characters have displayed in the course of the action:

Hast thou, which art but air, a touch, a feeling
Of their afflictions, and shall not myself,
One of their kind, that relish all as sharply
Passion as they, be kindlier moved than thou art? (5.1.21-4)

In recognizing himself as of the courtier’s ‘kind’ or kin – no better, no worse – Prospero is especially moved by the presence among them of his saviour Gonzalo, the man whose kindness in stocking his boat with supplies enabled him to survive the voyage to the island so many years previously. As he studies the Neapolitans, Prospero finds himself ‘sociable’ to Gonzalo’s feelings (5.1.63), weeping the same tears of contrition and pity, occupying in effect the same emotional space. This sympathy makes it possible for Prospero to imagine himself as being legitimately supplanted or replaced by other human beings in time to come. His revelation to the exhausted courtiers of the long-lost Ferdinand playing at chess with Miranda displays them in Prospero’s own cell, a space which is in effect his ducal ‘court’ as well as his habitation (5.1.166). Their presence in that simultaneously private and public location predicts their eventual usurpation of Prospero’s place at the court of Milan, as well as of Alonso’s place in Naples. And this may explain the exiled Duke’s later observation that when he returns to his dukedom ‘every third thought will be my grave’ (5.1.311): once he is buried, after all, he will be replaced by the next generation, like every other mortal. Those third thoughts of his might well be about the interchangeability of human beings, and hence about their kinship and equal status, regardless of the greater or lesser titles they have been accidentally endowed with.

Ferdinand and Miranda Playing Chess, by Gillot Saint-Èvre (1822)

The revelation of the lovers in Prospero’s cell marks the culminating moment of two miraculous events: the discovery that the former Duke of Milan is still alive, against all odds, and the seeming resurrection of the King’s dead son. These are ‘wonders’, as Prospero points out, and as such typical of the contents of old wives’ tales, the winter’s tales that gave an earlier Shakespeare play its title – itself recalling the title of another work of the 1580s, George Peele’s extravagant comedy The Old Wives’ Tale (printed 1595), which contains many of the ingredients of The Tempest (an enchanter, a servant spirit, lost travellers, slaves, metamorphoses, musical interludes, etc. etc.). The final scene of The Tempest sees the play we have watched being gradually transformed into a traveller’s tale full of impossibilities, a ‘most strange story’, as Alonso puts it (5.1.117), which nevertheless has substance to it (Prospero calls it ‘the story of my life’, 5.1.304). And the play’s epilogue sees the whole imaginative shebang acknowledged as a collective exercise on the part of the spectators as well as the cast of Shakespeare’s company.

If Prospero could achieve wonders on the stage, it was with the help of the ‘good hands’ of his willing audience. The audience worked as crew on the imaginative ship of the production, helping to make the tempest happen in the opening scene, to accept that Miranda was a woman, not a cross-dressed boy, that the goddesses in Prospero’s masque were played by spirits rather than ordinary members of Shakespeare’s company, and that the surface of the stage was made of rocks and sand and mud, not the wooden planks of an early modern playhouse. The audience must therefore also assist with the final wonder, Prospero’s return to Naples. The sails of his ship must be filled by their ‘gentle breath’ in a benign inversion of the violent winds that sent Odysseus off on his ten-years’ journey round the Mediterranean in Homer’s epic. Their sympathy with him, their capacity for putting themselves in his place, must be activated for one last time to send him home, their applause signaling the willingness of their busy imaginations to do the work of crafting him a happy ending. Prospero’s epilogue, in other words, invites us to imagine ourselves as Prospero, endowing us all with ducal status, making us all the beneficiaries of a fairy tale conclusion we ourselves construct. It also invites us to imagine ourselves as Prospero’s spirits, those newly liberated slaves whose abscondment is what drove him to appeal for our assistance in the first place. The epilogue, then, identifies the stage as the space where for a strictly limited time the utopian egalitarianism of Gonzalo’s and Stephano’s visions is necessarily achieved every time a successful performance takes place.

Miranda, by John William Waterhouse (1916)

The possibility of that final replacement – of hierarchy with utopian egalitarianism, of a dukedom with a theatrical collective – was made available in the final scene by Prospero’s own revelation of that ‘wonder’ Miranda in his cell, alongside that other wonder, the resurrected Ferdinand. Miranda’s name, of course, means ‘wonderful’ (from Latin miranda), and so suggests that she embodies the condition of wonder in the play: that is, the immediate emotional response to astonishing novelties, the state that preexists any effort to rationalize them – something close to the experience of ‘hesitation’ Tzvetan Todorov makes central to his understanding of the fantastic.[6] The young couple’s bodies are one of the wonders of the island, as we’ve seen: both represent ideals of the male and female forms. And Miranda makes a yet more remarkable wonder happen on stage in the final act, when she briefly allows the audience to see all humankind as wonderful, despite – well, despite everything the audience knows about the species in general, and the characters on stage in particular. ‘O, wonder!’ she exclaims as she catches sight of the Neapolitan courtiers:

How many goodly creatures are there here!
How beauteous mankind is! O brave new world,
That has such people in it! (5.1.181-4)

Prospero’s response to her reaction sounds cynical: ‘’Tis new to thee’; and Aldous Huxley’s use of one phrase of it for the title of his famous dystopia makes it hard to avoid reading both the response and the phrase itself as anything but ironic. But at that particular moment in the play the Neapolitan courtiers themselves seem to be as wonder-struck as young Miranda. Alonso briefly endows the girl with the divine status she imagined for herself in the second scene: ‘Is she the goddess that hath severed us / And brought us thus together?’ (5.1.187-8). And although Ferdinand at once claims Miranda as his possession (‘I chose her when I could not ask my father / For his advice’, 5.1.190-1), Gonzalo promptly steps in to make the couple equal again by endowing them both with royal status: ‘Look down, you gods, / And on this couple drop a blessed crown!’ (5.1.201-2). The old man’s timely reminder that the young couple will shortly replace both Alonso and Prospero makes possible the impossibility of some sort of genuine ‘brave new world’, free from the rivalries and acts of treason that characterized the older generation. The extent and nature of that possibility will depend on how cynical the collaborative audience is feeling (or has been made to feel by any given production) as the play draws to a close.

Djimon Hounsou as Caliban in Julie Taymor’s The Tempest

Which brings us back to the question of whether or not the play is a fantasy. Frank Kermode’s Arden edition of the play includes appendices that remind us of the early modern technologies that could make Prospero’s magic a practical possibility for the play’s Jacobean spectators.[7] The play makes a distinction between the mendacious travellers’ tales, for which the island appears to offer material proof when in fact that proof is largely supplied by Prospero’s spirits, and the magic of Prospero, which is genuinely effective in the world of the play. Those spirits, as Kermode also demonstrates, have much in common with the fairies and elves that had been rendered non-existent by Protestant orthodoxy. Does this mean the fairies have been restored to the status of the possible, since they could simply be mischief-making devils? On the other hand, there’s no sign that Prospero’s supernatural slaves are damned, and Ariel’s relative humaneness compared to the usual habits of humanity distinctly suggests otherwise. For a strict Protestant the idea of blessed spirits being at work in the world was heretical; so we return to the notion of Shakespeare’s spirits as fantastic inventions, or of course to the possibility that strict Protestants were wrong in their perception of how the universe operates.

What Shakespeare’s play does do without any doubt at all is to set belief systems and notions of what is and is not possible at odds with one another, thus enacting on stage the ideological and religious conflicts that were being acted out all over the world at the time of writing. For different characters different things are deemed to be possible or impossible at different times. Gonzalo’s belief in Ferdinand’s survival, or in the beneficial properties of the island, are as absurd for Sebastian and Antonio as his evocation of an island utopia, though the former at least turns out to be true in the final act – ands the latter too, if my reading of the ambiguously utopian atmosphere of the play’s ending is a convincing one. Meanwhile Sebastian and Antonio begin the play not believing in traveller’s reports but become believers when faced with Prospero’s spirits – though we have no way of knowing if they retain this belief after they’ve learned who is pulling those spirits’ strings. Miranda’s belief that the courtiers of Naples are things of wonder is an extravagant fantasy of her own, which can hardly be shared by Shakespeare’s audience any more than by her father, given both what we’ve seen of Sebastian and Antonio and the general reputation of Italians in early modern England.[8] The notion that Miranda is a wonder, in the sense of an ideal human being, is something even Prospero doesn’t seem sure of, given his anxiety over whether or not she is listening to his story in the opening act, and whether or not she will listen to his injunctions to stay chaste till marriage, as expressed in the masque scene and elsewhere. Ariel and his fellow spirits are perhaps the most conspicuous fantasies in the play, being benevolent supernatural beings of the sort unacknowledged by Protestant orthodoxy and having much in common with the diminutive fairies of A Midsummer Night’s Dream (Ariel can lie in a cowslip’s bell, which makes him no bigger than Peaseblossom). Even they, however, are treated as possible beings by all in the play, and members of the audience might well have seen them as possible in their own world too: Ariel’s name is biblical, and Elizabeth I had a personal magician, John Dee, who claimed to have dealings with benevolent spirits – which he called angels – rather than damned ones.

Another term for what is possible is what Kathryn Hume refers to in Fantasy and Mimesis as ‘consensus reality’, and in The Tempest there’s no final consensus about the nature of what is and isn’t real.[9] There is, however, a consensus invoked in the play’s epilogue, as we’ve seen, which makes real the possibility of collectively imagining a happy ending for Prospero, and perhaps even for Naples under the benevolent watch of a new generation who have shown themselves open to the condition of protracted wonderment. The question of how far the play is a fantasy, in other words – and how extravagant that fantasy might finally become – is left firmly in the hands of the spectators, whose multiple perspectives have been briefly combined to invoke the multiple perspectives of the play’s diverse characters. In the end, one might say, early modern fantasy lay in the eye of the early modern beholder. Which is precisely what makes it so interesting to consider early modern literature and drama in the light of the modern fantastic.

 

Notes

[1] An Apology for Poetry, with Geoffrey Shepherd (Manchester and New York: Manchester University Press, 2002), p. 81, line 27.

[2] The Tempest, ed. Frank Kermode, The Arden Shakespeare (London: Methuen, 1970). I have changed some punctuation slightly.

[3] For Shakespeare’s interest in replacing, substituting or supplanting people, as worked out in Measure for Measure, see R. W. Maslen, Shakespeare and Comedy, Arden Critical Companions (London: Thomson Learning, 2005), Afterword, pp. 213 ff. 

[4] ‘Thought is free’ is often used mockingly in early modern English to suggest unvoiced suspicions about another person’s sexual activities…

[5] See The Tempest, ed. Frank Kermode, Appendix B: ‘Ariel as Daemon and Fairy’, pp. 142-5.

[6] On hesitation, see Tzvetan Todorov, The Fantastic: A Structural Approach to a Literary Genre (Ithaca, N.Y.: Cornell University Press, 1975), pp. 24-5.

[7] See The Tempest, ed. Frank Kermode, Appendix B.

[8] For the early modern English response to Italian culture see R. W. Maslen, Elizabethan Fictions: Espionage, Counter-espionage and the Duplicity of Fiction in Early Elizabethan Prose Narratives (Oxford: Clarendon Press, 1997), Introduction etc. Naples in particular gets a bad press in one of the most popular prose romances of Elizabethan times, John Lyly’s Euphues: The Anatomy of Wit (1578).

[9] See Kathryn Hume, Fantasy and Mimesis: Responses to Reality in Western Literature (New York and London: Methuen, 1984), p. xi etc.